CMA CLOSE UP

CMA Closeup News Service

Issue Date: 6/24/2008  
Jewel: Closing the Circle, Coming Home to Country
By Vernell Hackett

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

Jewel fell in love with words at an early age. It's a love affair that continues today. "I was fascinated by words and how more can be said than what is in the actual words," the singer/songwriter said. "Being raised in such a remote region, reading was a source of entertainment. I read philosophy, the classics, poetry . I just loved it."

Growing up on a ranch in rural Alaska provided an awesome setting for this young woman as she began writing songs at 15. While most folks would consider it a hardship to live in the wilderness with no running water or indoor plumbing, Jewel embraced the lifestyle and used it as a cornerstone for her songs and art.

She learned about the craft of performing from her parents, both of whom were recording artists. By the time she was 6, she was traveling by dog sled to their shows in remote areas of the state. The 8-year-old became a duet partner with her father after her parents divorced, and by the time she was 15, she was performing solo.

During spring break from the Interlochen Center for the Arts, a private arts school in Michigan, the 16-year-old took off for two weeks to Mexico, where she performed on street corners and soaked up the culture she found there. The experience completed the picture that would inspire the singer/songwriter to pen tunes about the land, the family values she learned in Alaska and the emotions that come from experiencing life. Jewel could not have made up a background better suited to becoming a Country singer.

Her path detoured from the Country realm, though, after she moved to San Diego and through a series of circumstances found herself living in her car.

"I became homeless after I got fired from my job because I wouldn't have sex with my boss," she said. "I almost died from blood poisoning because I had bad kidneys. I fell into this bad poverty cycle, and I couldn't get out.

"It wasn't like I was an artist trying to make my dream work," she explained. "I started writing songs and performing because that would give me money so I could live. Then a radio station put a bootleg recording of mine on the radio and my first label heard it."

That label, Atlantic Records, signed Jewel close to her 19th birthday and issued her debut album, Pieces of You, in 1995. When it sold only 3,000 copies during its first nine months of release, Jewel hit the road to take her music to the people.

The people responded: A year later, she had a major hit with "Who Will Save Your Soul," a song she'd written three years earlier during her travels in Mexico. Two other singles, "You Were Meant for Me" and "Foolish Games," pushed album sales to more than 11 million units and earned Jewel acclaim as one of the major singer/songwriters of her time.

Despite her success at alternative radio, Jewel always thought that her writing fit the Country Music mold, with her chief inspirations including Merle Haggard's lyrics and Loretta Lynn's sassy songs, such as "The Pill" and "Fist City."

"When I first came around, the only opening for me was alternative radio, which was a wide-open, anything-goes kind of format," she said. "Country radio right now is an open format. You have your traditionalists like George Strait, or your pop-sounding entertainers like Rascal Flatts. It's the spirit that keeps it unified. I think any one of my songs would have been a great hit for the Country market."

Jewel's instincts about her music were justified when Merle Haggard called and asked her to sing on For the Record: 43 Legendary Hits, his 1999 compilation of No. 1 singles. "I was shocked and flattered that he knew who I was," she admitted. "I did two songs with him, 'Silver Wings' and 'That's the Way Love Goes.' Then he asked me to be on the CMA Awards show with him."

Soon Jewel was coming to Nashville on a regular basis. She talked with Atlantic about doing a Country album, but they were not open to the idea. Finally she left the label "because I felt so strongly that Country Music was home for me."

Nashville embraced her right away. She was invited to co-host USA Network's "Nashville Star" talent show in 2007. There she met John Rich of Big & Rich, who suggested they write together. At the time, Jewel had already started pulling songs together for what would become her first Country album, Perfectly Clear - and after playing some of them for Rich, he realized that the material was already in place and instead offered his services as her co-producer.

On a whim, they hired a band, with whom they cut 10 tracks in two days. "I knew exactly what I wanted this album to sound like," Jewel said. "Some of the songs date back to when I was 16 and 18. That's how long I've known about making a Country album."

Rich and Jewel, judges on the current season of "Nashville Star," now on NBC-TV, proved to be a strong match in part because of their similar thoughts about recording. "I believe in the story of the song," she said. "My ego should get out of the way and so should the producer. John cares about songwriting, so what we both did was let the song tell its story."

That was enough to persuade Rich to commit as well to Jewel. "She is one of the greatest singer/songwriters of any genre and one of the most uniquely creative people to work with in the studio," he noted. "It was a serious honor to work with someone of her caliber."

Released June 3 from The Valory Music Co., Perfectly Clear includes 11 songs, all but one of which Jewel wrote or co-wrote. Their lyrics document her continuing love for words, from the title track's wistful reference to "five years worth of kisses packed in your bag" to "Love is a Garden," on which she compares love to planting seeds in a garden that she will "feed with kisses." The sole cover, the Lisa Carver/Liz Rose-penned song "Till it Feels Like Cheating," is included because, as Jewel relates, "it sounded like a song I should have written." It has the same sensibility as "Garden," with the singer pleading, "Kiss me like we're about to sin."

Jewel strives constantly to hit the balance between the arty song that no one will ever hear and the throwaway hit that has little meaning. Keeping in mind the fact that Haggard, Lynn and her other favorites are remembered because "they came from a perspective that no one else had at the time," she aims to achieve a perspective in her work that is similarly unique yet accessible.

"I wouldn't trade anything," she insisted. "I'm proud that my first song, 'Who Will Save Your Soul,' was not about what most 15- and 16-year-olds would write about. I was dealing with pretty big social issues. I saw a lot of contradictions, brutality - but also a lot of beauty.

"Writing helps you focus on becoming more hopeful and work harder instead of becoming complacent," she continued. "I remember reading those great writers who wrote during the Russian Revolution and finding that their passions empowered me. I'm proud of my life and proud that I've made beauty out of my life. I think it's given me a gift I wouldn't have gotten otherwise."

Jewel is adamant that she is exactly where she is supposed to be right now and that she's found a home in Country Music. "There are two reasons to do this: You love art and you struggle every day to be great at it, and to be famous," she summed up. "At the end of the day, I have to be true to my music and tell the story to the best of my ability."

On the Web: www.jeweljk.com

   

Images for above article.

 

 

 
 
Jewel; Valory Music; photo: Kurt Markus
Photo: See Caption

 

Jewel; Valory Music; photo: Kurt Markus
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Jewel; Valory Music; photo: Kurt Markus
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NEW ARTIST SPOTLIGHT: Ansel Brown
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

One can't easily picture Ansel Brown in a suit, briefcase in hand, building a budding career as an advertising executive in Charlotte, N.C. What's easier to imagine, when listening to the rowdy up-tempo tracks, saloon weepers and professions of faith on his debut album, is the day enlightenment struck and he realized, in his own words, "I'm supposed to be a Country singer."

This epiphany rings true throughout You're Just Smoke, released in May by IPAK Records. Steeped in mainstream Country influences, vibrant with dramatic gestures that draw from the wells of Bryan Adams and Billy Joel as much as Alabama and Garth Brooks, and tuned to modern tastes by producer Cliff Downs, it does offer clues to parts of Brown's background that are nearly as unexpected as his ad dalliance.

The party-down number "Waikiki Cowboy," harks back to his upbringing in Hawaii, where he moved with his family after age 10 and earned his first significant performing experience as a member of the Hawaiian Children's Choir.

That's just the beginning: Brown has led a youth ministry, coached Pop Warner Youth Football and booked frequent shows at children's hospitals into his increasingly busy schedule. These pieces come together to the strains of Country Music, on the three originals and 11 outside tracks of You're Just Smoke and especially on the debut single, "Mine's Bigger," which Brown delivers with a cockeyed grin and a swaggering bravado.

IN HIS OWN WORDS:

MUSICAL HERO
"My mom's mother. She was an incredible pianist."

INFLUENCES
"(non-musical influences) Mom and Dad, Thomas Edison, Abraham Lincoln and Zig Ziggler; (musical influences) Collin Raye, Garth Brooks, Sting, Billy Joel, Bryan Adams, Alabama and George Strait."

HOMETOWN
"Greenville, S.C."

DREAM DUET PARTNER
"Faith Hill or Carrie Underwood (equally)."

PET PEEVE
"People who don't respond to a text message."

FAVORITE MODE OF TRANSPORTATION
"My car - I control where I go."

LUCKY CHARM
"My faith is all the luck I need."

SONG YOU'D LIKE TO COVER
"'Purple Rain.'"

ACTOR TO PORTRAY YOU IN YOUR BIOPIC
"John Corbett."

SONG YOU WISH YOU WROTE
"'Live Like You Were Dying.'"

WORD OR PHRASE YOU FIND YOURSELF SAYING OVER AND OVER
"I can do it."

MOMENT IN YOUR LIFE WOULD YOU RELIVE IF YOU COULD
"High school - I would do it all right this time."

TITLE OF YOUR AUTOBIOGRAPHY
"What Would Have Happened If I Didn't Try?"

WHEN THEY LOOK BACK ON YOUR LIFE IN 50 YEARS, WHAT YOU HOPE PEOPLE SAY ABOUT YOU
"That I made a difference."

On the Web: www.anselbrown.com

   

Images for above article.

 
     
Ansel Brown; IPAK Records; photo: Mark Anthony Jefferies
Photo: See Caption

 

 

 

Issue Date: 6/17/2008  
Alan Jackson: The Art of Matching Truth to a Good Tune
By Tom Roland

 

© 2008 CMA Close Up® News Service / Country Music Association,® Inc.

A sweeping dichotomy surfaces at the close of Alan Jackson's latest album, Good Time. "If You Want to Make Me Happy," the penultimate track, is set in a barroom awash in jukebox laments and mind-numbing alcohol. The closer, "If Jesus Walked the World Today," is a buoyant gospel piece that contemplates Jesus' appearance and behavior were he to re-emerge in 21st-century America. These two songs juxtapose the polar themes of Country Music: the Saturday-night sinner and the Sunday-morning saint.

So how does Jackson feel about this?

"I never think about that kind of stuff until you writers bring it up," he said.

That's one reason why Jackson, who has branded himself in a lyric as "just a singer of simple songs," remains a force nearly two decades after signing his first recording contract with Arista Nashville. Like Merle Haggard and Hank Williams before him, Jackson addresses blue-collar themes in easy-to-grasp language while tackling ideas that slip beneath surface concerns to the root of human existence. These ideas are so obvious to him that he doesn't waste any time thinking about the depth of his observations.

"No matter what he's done," said Joe Galante, Chairman, Sony BMG Nashville, "whether it???s been 'Chattahoochee' or 'Where Were You (When the World Stopped Turning),' you have this conversation with him about 'these brilliant lyrics - where did this come from?' 'I don't know.' 'And this theme you have in this album?' 'No, I just think they're good songs.' 'OK, so do we.' I really think it's just about what the muse is at the moment, and then it moves him to go there. "That muse is geared strongly to the issues and concerns that face the average heartland Joe because Jackson, despite the money and fame he's amassed, is still one of them.

"Part of the reason is obviously because of where he comes from - his family ties, his family roots back in Newnan [Ga.], plus being surrounded by Denise and his three daughters," suggested Keith Stegall, producer of Good Time and all but one of Jackson's other albums. "They manage to have a pretty normal, down-to-earth lifestyle."

Good Time reiterates this fact. It embraces the escape that most people long for in the island-themed "Laid Back 'n Low Key (Cay)." It infuses his mechanical background into the truck setting of "Country Boy." It faces death in the questioning of "Sissy's Song." It looks at love in the romantic "Right Where I Want You" and, in a humorous take on the wake of making love, "Nothing Left to Do." And it leans heavily on nostalgia with "I Wish I Could Back Up," "1976" and "I Still Like Bologna," in which Jackson accepts digital technology and wheat bread while maintaining his appreciation for a previous era.

"You look at all the different ways that life has changed - the Internet, satellite TV, cell phones," he said. "It's hard to come to grips with all of it sometimes. But I wrote the song to show that I'm OK with where things are, even though it's not so bad the way things were, either. I eat healthier than I used to - I usually have wheat bread on my sandwiches - but I still like bologna on white bread. That's why I used that title. It's kind of nice once in a while to do things the old way. That doesn't mean it's better - just means it's nice to do it that way."

Jackson's album is in some ways a return to his old way of doing things. In contrast, his two previous albums were departures from his usual output. Like Red on a Rose marked the only time that he had recorded with a producer other than Stegall. With Alison Krauss at the console, it put a more fragile spin and cast darker textures on his music. And Precious Memories was a gospel album that hinged on classic hymns, recorded primarily as a gift to his mother.

Shaking up the routine proved a good way to invigorate everyone involved in the recording process for Good Time. "Going back to this album, there was a renewed energy," Jackson noted. "I had it, and I could tell Keith was excited to be back at it. The musicians even seemed more inspired, or energetic, than usual. That's not to say that they're not always right there, but they seemed happy to get back to playing some traditional Country Music, or at least my style of that."

"It seemed like everybody was just rarin' to go," said session musician Bruce Watkins, who played acoustic guitar and banjo on Good Time and has played regularly on Jackson's albums since 1989. "Being reunited as the team that originally played on all the hits that he had, everybody got all this adrenaline going, and I could see it in the smile on Alan's face too."

Jackson was definitely enthused. He typically puts off writing most of his new material until an album deadline approaches. That was the case with Good Time too, but when he put pen to paper, the songs fell out with unusual ease. In the end, Jackson recorded more than 20 songs and ultimately included 17 on his 17th album, Good Time. And for the first time in his career, he wrote them all - without a co-writer.

Some of his inspiration may have come from feeling he had something to prove. The two previous albums, according to Galante, "threw people for a loop. They went, 'I'm not sure about this. Is Alan not making records anymore?' All the crap that you would expect to show up showed up. It wasn't a surprise, but it lingered a little bit longer than I expected. I think it put a little more pressure on him on this record to come back and deliver what he did deliver."

Since making his debut album in 1989 with Here in the Real World, Jackson has delivered with extreme consistency. He's weathered several stylistic periods within Country Music, all the while remaining true to his roots. According to Galante, he still plays music by The Carter Family and Vern Gosdin on his bus, confirmation that while other acts reflect more current and pop-oriented influences, Jackson continues to be moved by the historic and honky-tonk sounds on which Country Music was built.

"We just did a series of focus groups," Galante said. "We were talking about Alan Jackson. They were all women we were talking to, and we said, 'What comes to your mind when you think about Alan Jackson?' And the words came up: 'classic' and 'timeless.' That's what it is. They get the sense this man stands for something. He has a great sense of humor, and he has a great heart and soul, and they get it. He doesn't have to come out and talk about it. They get it just because of the way he approaches everything."

Jackson's approach is why he's taken aback at time by efforts to analyze his music. The three-time CMA Entertainer of the Year applies the same integrity represented in "Small Town Southern Man" to his own work, which is built on observations about the people and the world around him. The depth is there in his writing, but it rises from a multitude of simple images that he's pieced together.

"When I was making this record," he mused, "I was thinking all these songs and the sounds on there are pretty much like I wanted to do when I came to Nashville. It was the same thing, Country Music and songs of this nature, and so I still enjoy creating the music, for the most part, more than the rest of my career. I get tired of the interviews and the TV and the awards stuff and all that, but I still like making the music."

On the Web: www.alanjackson.com

   

Images for above article.

 

 

 

 
Alan Jackson; Arista Nashville; photo: Russ Harrington
Photo: See Caption

 

Alan Jackson; Arista Nashville; photo: Russ Harrington
Photo: See Caption

 

Alan Jackson; Arista Nashville; photo: Russ Harrington
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Alan Jackson; Arista Nashville; photo: Russ Harrington
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NEW ARTIST SPOTLIGHT: Amanda Shaw
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association,® Inc.

Fiddler/singer/songwriter/actress Amanda Shaw's New Orleans roots display proudly throughout her Rounder Records debut album, Pretty Runs Out, in her street-strut pas de deux with Troy "Trombone Shorty" Andrews on "Brick Wall," the low-down jazzy blues of her solo on "What's Wrong with You?" and the foot-stomp Cajun feel "French Jig" and "McGee's Medley."

Shaw wrote five of these 13 tracks and recorded all of them while in her mid teens. Now 17, she projects an appeal through her music that combines elements of humor and youthful verve with the precocity that earned her the distinction at age 7 of being the youngest artist to guest with the Baton Rouge Symphony Orchestra.

Shaw was in elementary school when she made her national television debut on "The Rosie O'Donnell Show." She was 14 when she won Best Female Entertainer honors at the annual Big Easy Entertainment Awards. In 2004, she and producer Scott Billington worked diligently on repertoire for Pretty Runs Out and recorded demos at the legendary Ultrasonic Studio, which was subsequently lost to Hurricane Katrina. They recorded Pretty Runs Out at the Piety Street Studio in the Upper Ninth Ward at the end of 2006.

Like her hometown, Shaw's music covers a wide range - all the way to crunchy, guitar-amped rock on "Woulda Coulda Shoulda." The Crescent City is all about roots, and the rock/Cajun/Irish blend of her "Reels: The Gaspé Reel/Sam's Slammer/ Imogen's Ridge" medley makes clear where Shaw's heart is, no matter how far her explorations take her from this point - even onto the sprawling IMAX screen as star of "Hurricane on the Bayou."

IN HER OWN WORDS:
MUSICAL HERO: "There are so many: Denis McGee, Billie Holiday, Etta James, Chrissie Hynde, Loretta Lynn . Mostly, though, I have to say the wonderful musicians of New Orleans."

SONG YOU SING IN THE SHOWER: "The song I'm currently trying to write."

FAVORITE MODE OF TRANSPORATION: "The one that gets me there on time - which, for me, would be 10 minutes late."

TITLE OF YOUR AUTOBIOGRAPHY: "Amanda Shaw: Pretty Runs Out."

LEGACY: "I hope people say, 'She lived a happy life and was a well respected artist . even though she is a bit klutzy at times.'"

On the Web: www.amandashaw.com

   

Images for above article.

 
     
Amanda Shaw; Rounder Records; photo: Rick Oliver
Photo: See Caption

 

 

 

 

Issue Date: 6/10/2008  
 
2008 CMA MUSIC FESTIVAL ATTENDANCE UP 9.4 PERCENT
By Wendy Pearl

 

© 2008 CMA Close Up® News Service / Country Music Association, Inc.

CMA Music Festival hit an all-time high attendance record in 2008 with a 9.4 percent increase over 2007 during the four-day Festival, Thursday through Sunday, in Downtown Nashville.

"Even with gasoline prices around $4 a gallon and weak economic conditions around the country, we saw an increase in our attendance on every level from local and regional participation to those fans that traveled from around the world," said CMA Chief Executive Officer Tammy Genovese. "I believe that speaks to the strength of the event, the popularity of our artists, the dedication of our fans, and the entertainment value of the Festival."

The average daily attendance in 2008 was 52,000. By comparison, in 2007 the average daily attendance was nearly 48,000.

"We made a decision this year to announce our attendance as a daily average rather than a four-day aggregate so people are not overwhelmed by a huge number and potentially turned off from attending the Festival because they are concerned about parking or moving around downtown," Genovese said. "It is actually much easier than people think and we want to communicate that in a new way." 

Fans definitely enjoyed themselves and made it known at the Box Office. Tickets for CMA Music Festival 2009, which will be held June 11-14, went on sale Saturday and Gold Circle four-day ticket packages sold out in a record 15 minutes. By Sunday, advance sales bested sales during the same period in 2007, by 4.2 percent.

"You know you are giving the fans what they want when they put down their hard-earned money for an event and we haven't even announced who will be performing," remarked Genovese.

Increased sales of four-day ticket packages and single concert tickets contributed to the growth, as well as record attendance at CMA Music Festival's free areas - including the McDonald's®-Dr Pepper® Family Zone, Fun Zone, Chevy(tm) Sports Zone and Chevy Plaza.

Surprise appearances are a hallmark of this event. And 2008 didn't disappoint. The first night at the VAULT(tm) Concert Stage at LP Field included an unannounced appearance by reigning CMA Vocal Group of the Year Rascal Flatts. On Friday, Keith Urban delighted the crowd - and one fan in particular - when he leapt from the stage, sprinted into the stands and autographed his guitar for a stunned fan. Jessica Simpson made several unannounced appearances including the Wednesday Block Party, the Fan Fair Hall and at LP Field. Kix Brooks of Brooks & Dunn also made an unexpected appearance to sign autographs for fans.

"We love giving our fans something special and unexpected," Genovese said. "It is amazing to hear the stadium erupt in applause when an unannounced guest steps out on that stage."

And it all benefits children and music education in Nashville. The artists and celebrities participating in CMA Music Festival donate their time. They are not compensated for the hours they spend signing autographs and performing. In appreciation of their exhaustive efforts, CMA donates half the net proceeds from the event to music education on their behalf through a partnership with the Nashville Alliance for Public Education called "Keep the Music Playing."

To date, CMA has donated more than $1 million on behalf of the artists who participate in the Festival - including $368,500 from the 2006 CMA Music Festival and $655,600 from 2007 CMA Music Festival. Several students groups participated in the Festival including drum corps from Antioch and Overton High Schools, who marched in "The Fourth Annual CMA Music Festival Kick-Off Parade." In addition, 800 students were given tickets to attend Saturday night through the generosity of HCA/TriStar.

CMA Music Festival is - and always will be - about the fans and their relationship with the artists and the music. The theme is universal and in 2008 Festival attendees came from every state and 28 foreign countries including Australia, Austria, Belgium, Brazil, Canada, Cayman Islands, Chile, Czech Republic, Denmark, Finland, France, Germany, Greece, Iceland, Ireland, Italy, Japan, Jersey, Latvia, Malta, New Zealand, Norway, Portugal, Spain, Sweden, Switzerland, The Netherlands and the United Kingdom (which includes England, Scotland, Wales and Northern Ireland).

The Festival got underway Wednesday with Grand Marshall James Otto leading the way for "The Fourth Annual CMA Music Festival Kick-Off Parade" with an estimated crowd of 12,000 spectators. Following the procession, the fun kicked into high gear with "The Third Annual CMA Music Festival Block Party" on the Chevy Plaza at the Sommet Center. Keith Anderson, Luke Bryan, Joe Nichols, James Otto, Phil Stacey, Chris Young, and Zac Brown Band performed for an estimated crowd of 6,000 according to police.

Nightly Concerts on the VAULT(tm) Concert Stage at LP Field 
In all, 36 acts participated in the star-packed Nightly Concerts on the VAULT Concert Stage at LP Field. The lineup Thursday included Jewel, Montgomery Gentry, Kellie Pickler, Sugarland, Taylor Swift, Rascal Flatts and acoustic performances by Luke Bryan and Jennifer Hanson

Pre-show activities included the presentation of the Stars and Stripes by the United States Marine Corps Recruiting Station Nashville Color Guard and a fly over with FA-18s from The Bengals of VMFA (AW)-224 from Marine Corps Air Station, Beaufort, S.C., a tradition that was a crowd pleaser all four nights. Lyric Street recording artist and season six "American Idol" finalist Phil Stacey sang the national anthem, and Nashville Mayor Karl Dean officially welcomed fans to Music City for the 37th annual event, which began as Fan Fair® in 1972.

Fans were treated to performances Friday by Faith Hill, Jack Ingram, Lady Antebellum, Miranda Lambert, Josh Turner, Carrie Underwood, and Keith Urban. Julianne Hough performed with Turner's band. Jake Owen and Ashton Shepherd performed acoustic sets.
           
Though the evening marked Hill's first performance at the Festival in 10 years, she insisted that her appearance felt like a family event. "Well, it's a short drive," she joked. "And my kids are at home, so I kind of feel like I'm off tonight."

Saturday's lineup rocked the house with Trace Adkins, Rodney Atkins, Alan Jackson, Little Big Town, Craig Morgan, and Kenny Rogers. Jason Michael Carroll, Jamey Johnson, and Darryl Worley delivered acoustic performances.

Sunday's lineup featured Bucky Covington, Billy Ray Cyrus, Sara Evans, James Otto, Randy Travis, and Dwight Yoakam. Phil Stacey, John Stephan and Chuck Wicks performed acoustically.

Yoakam last appeared at the Festival 20 years ago when he performed with personal friend and mentor Buck Owens. "It's great to be here at CMA Music Festival," he said. "It's been a long, long time." Then, referring to the many giants of Country Music who had played at CMA Music Festival, he added, "It hasn't been a very succinct journey to this point for me, but the shoulder I'm standing on is theirs."

Greased Lightning® Riverfront Daytime Stages
Fan favorites Phil Vassar and Jo Dee Messina got the 2008 CMA Music Festival off to an energetic start Thursday morning during the kick-off concert at Riverfront Park. Fans were waiting before dawn to see the powerhouse performers.

The dual stages bustled throughout the four days with a rich array of performers from both major and independent record labels. In all, 106 acts performed more than 34 hours of concerts. 

truTV(tm) Fan Fair® Hall
The state of continuous commotion that's been the standard for the truTV(tm) Fan Fair Hall was back in force with 408 artists and celebrities appearing at the Nashville Convention Center. Exhibit booths sold out with 110 exhibitors. Attendance over the four days was more than 53,000. For the first time, single day tickets to the Fan Fair Hall were available for purchase Saturday and Sunday.
 
"This is my first time at CMA Music Festival. I'm really impressed with the way fans form friendships here. I definitely want to become a part of this community over the next several years," said Taylor Young, 27, of Mountain View, Calif.

As in previous years, dedicated fans camped out on the street outside of the Exhibit Hall starting at 8:00 PM, not only in hopes of being the first in line for autographs when the doors opened the following morning, but also to share in what has become a special tradition for this group. "I came down here at 5 this morning and found there was already a long line to get in," said Sam Pfeiffer, 36, of Arlington, Va., on Thursday morning. "I guess I'll have to make it earlier tomorrow, but that just adds to the sense of adventure."

Their dedication paid off. Aaron Tippin surprised the assembled fans and signed autographs around 2:00 AM Thursday following his performance at The Marty Stuart's Late Night Jam.

Country superstar Alan Jackson made his first appearance in the Fan Fair Hall since 1998 Friday signing 300 autographs in two hours with his wife and author Denise Jackson.

Teen sensation Taylor Swift signed in the Big Machine Records booth Saturday from the time the doors opened at 10:00 AM until 6:00 PM - with no break. She signed 900 autographs, the longest consecutive signing since Garth Brooks' marathon 23 hour signing in 1996.

Kix Brooks made a surprise appearance in the Fan Fair Hall signing approximately 500 autographs in three hours at the Brooks & Dunn booth - after signing another 100 in the Borders® booth. Carrie Underwood signed 400 autographs in four hours and Wynonna signed for five hours. Other popular artists included Jessica Simpson, Kellie Pickler, Sara Evans, Julianne Hough, Lady Antebellum, Bucky Covington, Billy Gilman, Emerson Drive, Joe Nichols, James Otto and Chris Young.

Mary Kay® presents Acoustic Corner, which launched in 2004 as a showcase for independent artists, featured 30 solo or group performers. The area on the second floor of the Convention Center hosted a steady stream of fans.

Premiere on the Air
CMA's official radio partner, Premiere Radio Networks, brought 20 of Country radio's top-rated stations from markets including Atlanta, Baltimore, Charlotte, Cleveland, Columbus, Dallas, Denver, Detroit, Indianapolis, Los Angeles, Louisville, Nashville, Norfolk, Phoenix, Portland, Raleigh-Durham, San Diego, Seattle, Tampa, Washington, D.C., and overnight syndicated radio program "After MidNite with Blair Garner" to Nashville for three days of remote broadcasts from the Convention Center. More than 75 artists and celebrities participated in the remotes reaching 10 million listeners.

In addition, Premiere also teamed up with several ABC Television Network affiliates to bring the excitement of the event to cities across the country. Jack Ingram and the stars of ABC Daytime joined on-air personalities for the first-hand reports to several markets including Cleveland, Dallas, Denver, Indianapolis, Phoenix and Seattle. 
 
"With the new television studio added to the service we've been offering to radio at CMA Music Festival, we expect to help participating stations reach an audience of more than 13 million this year," said Ilycia Deitch Chiarmonte, Senior Director of Events for Premiere Radio Networks.
 
Borders® 
Borders had locations at the Exhibit Hall, Riverfront and LP Field. The Top 5 selling CD titles belonged to (in order) Alan Jackson, Taylor Swift, Joe Nichols, Carrie Underwood, and Chris Young - who all signed in the Fan Fair Hall during the Festival. Other bestselling artists included Lady Antebellum, Jake Owen, Kellie Pickler, Josh Turner, Keith Urban, Whiskey Falls, and Stephen Cochran

"One of the goals with this event is to help build a marketing platform for developing artists," Genovese said. "With the variety of artists on the list, it tells me that our fans are discovering new music at CMA Music Festival and they aren't waiting until they get home to buy it."

CMA Music Festival Merchandise
The official CMA Music Festival merchandise line was very popular with attendees. According to Music City Merchandise, which designs and produces the collection, onsite sales were up nearly 11 percent over 2007. A popular item this year was a T-shirt that listed all announced performers for the Nightly Concerts. Music City Merchandise, which had booths at the truTV Fan Fair Hall, Greased Lightning Daytime Stages, McDonald's-Dr Pepper Family Zone, the Sommet Center, and VAULT Concert Stage at LP Field, has been CMA's merchandise partner for the past 14 years.

Chevy(tm) Sports Zone
CMA's free Chevy Sports Zone was a huge hit with participants and fans looking for fun and friendly competition. More thank 100 celebrities, artists and athletes participated in Chevy Sports Zone activities during the four days.

"The Field & Stream Celebrity Total Outdoorsman Challenge presented by Mobil 1" was a highlight Thursday with Country Music artists and other celebrities showing off their outdoor skills with contests in archery, fly casting, bait casting, and air rifle and attempting to beat the two-time Total Outdoorsman Challenge Champion Paul Thompson, who also joined the competition. In an upset that had people buzzing, Daniel Lee Martin beat Thompson for the First Place seat. Martin's prizes including a televised hunting trip and new BowTech bow. On Friday, the Field & Stream held local and regional Total Outdoorsman Challenges. Cory Jones finished first out of nine competitors in the local qualifier, winning an all-expense paid trip for two to the 2008 CMA Awards and moving on to the regional qualifier. Also moving on to the regional qualifier were Scot Marcin, Paul Hughes, and Martin (who was invited to compete in the regional qualifier based on his scores from Thursday). Nineteen outdoorsmen competed in the regional qualifier Friday afternoon. Chris Nischan and Martin had the best scores and will compete in Field & Stream Total Outdoorsman Challenge National Championship, Sept. 5-7 in Springfield, Mo.

The fur was flying during the DockDogs® Competitions Presented by Outdoor Channel. Competitions took place in the DockDogs' 25,000 gallon mobile pool. During the Celebrity Challenge on Sunday, Outdoor Channel host Mike Pawlawski and his canine partner Quasi won with a distance of 24 feet, 10 inches, setting a new record for the DockDogs Celebrity Challenge. The Outdoor Channel's Tiffany Lakowsky and Bo won the silver medal with a distance of 20 feet, 5 inches. Trick Pony's Keith Burns and Cheyenne took home the bronze leaping for 19 feet, 11 inches. Also placing in the top tier were CMT's Katie Cook and Rachel Reinhart from the band Gloriana.
 
The Celebrity Sports Challenge Presented by Glaceau Vitaminwater® Hosted by Steve Azar proved to be a fan favorite with an amazing array of sports champions and celebrities competing along with Azar and other artists. Five teams competed, each identified by the color of their jersey. In the end, victory was awarded to the Navy team, which included Todd Armstrong, Steve Azar, Aaron Benward of Blue County, former NFL linebacker Steve Cole, Tennessee Titans punter Craig Hentrich, and Ken Purvis.

The Outdoor Life Calling for Conservation Competition took place Friday.  Hosted by Shoot Straight TV's Chad Schearer, this game-calling contest highlights the launch of a new conservation program: Outdoor Life's "Project Save-A-Stream," a nationwide program dedicated to cleaning up our waterways. Professional and celebrity callers competed to determine the best turkey and big game calls.

Two winners were selected: Julie Ingram was the audience favorite, based on volume of applause, but the judges gave the official first prize to Trent Willmon, along with an Alberta Canada Black Bear Hunt and a check for $1,000 to donate to the conservation organization of his choice.

The first ever CMA Music Festival BBQ Championship took place Saturday and Sunday. Teams from across the nation competed in four categories (pork ribs, pork shoulder, beef brisket and chicken) for a chance to win a share of more than $17,000 in cash and prizes to be distributed to category winners.

The Grand Champion of the CMA Music Festival BBQ Championship, the Lotta Bull BBQ team from Marietta, Okla., will receive $2,500, a CMA Awards trip package for two including accommodations, an invitation to take part in the prestigious KCBS-sanctioned American Royale competition, and eligibility to participate in the Jack Daniel's World Championship Invitational Barbecue (better known as "The Jack") in late October in Lynchburg, TN.

The CBR/RFD-TV Celebrity Bull Riding Challenge was held Saturday with artists squaring off against champion bull riders to see who could make the eight seconds. The event was hosted by Tuff Hedeman, five-time World Champion and President of CBR. The winning team was professional rider Jake Littlefield and Jason Brown.

The Fiesta Celebrity Grilling Challenge was held Saturday with host Lee McWright, Executive Chef for Fiesta Gas Grills. Artists and celebrities were paired with professional chefs in a culinary competition. The winning team was Mark Wills and Chef Jason Brumm of the Nashville restaurant Radius10.

Sunday's "Third Annual New Holland/Michael Peterson Celebrity Tractor Race" had artists and celebrities revved up with contestants racing against the clock through an obstacle course on a New Holland Boomer(tm) compact tractor. The winner was singer/songwriter Darby Ledbetter with an astounding time of .47 seconds. Trent Willmon was second with .51, followed closely by Joe Jobe, CEO of the National Biodiesel Board, with a time of .52 seconds.
 
Chevy Plaza 
The Chevy Plaza free area on the Sommet Center plaza buzzed with activities featuring vehicle displays, interactive consumer experiences, games, and the Chevy Ride & Drive event. The Chevy Stage featured 33 daily performances. Visitors were also able to test-drive an Avalanche, Cobalt Sport, HHR, Impala SS, Tahoe Hybrid, all new Malibu, Aveo, Equinox Sport or one of two Silverados (1500 and 2500 HD). The number of test drives topped 1,000 and Chevy provided 34,700 giveaway items including hats, shirts, mugs, playing cards, and more.

McDonald's®-Dr Pepper® Family Zone
Growing in popularity each year since it was introduced in 2001, the free McDonald's-Dr Pepper Family Zone was buzzing during CMA Music Festival with activities for youngsters and the young at heart.

The Family Zone was a popular destination Sunday for the McDonald's Family Picnic, with McDonald's providing free sandwiches to the first 500 attendees.

For the second year, top high school vocalists from across the nation were in Nashville to compete for the prestigious title "Music City Rising Star." The Music City's Rising Star Youth Vocal Soloist Competition was held in the McDonald's-Dr Pepper Family Zone with 129 students from 25 states competing. The Top 5 finalists were announced Saturday on the Greased Lightning Daytime Stages. Winners from first to fifth were Jernie Talles, 14, of Fort Pierce, Fla., Morgan Grotheer, 17, of Savannah, Ga., Kaley Caterton, 15, of Waco, Texas, and Anna Brooke Higdon, 17, of Sevierville, Tenn.

CMA Celebrity Close Up Presented by Great American Country
The inside track is what CMA Celebrity Close Up is all about with a lively question and answer format hosted by media personality Lorianne Crook. And she treated the record-breaking audience of more than 3,400 over two sessions to a bit of insider information with guests Bucky Covington, Sara Evans, Joe Nichols, Jake Owen, Taylor Swift, Randy Travis and Gretchen Wilson

Great American Country (GAC) was the presenting sponsor of the celebrity gab sessions, which were taped for two future television broadcasts by the same name on the Country Music-themed cable network. The first episode is scheduled to air Saturday, July 19 (9:00 PM/ET) and the second episode will air Saturday, July 26 (9:00 PM/ET). Schedule and times subject to change. 

"The participating artists are really in their element in front of a live crowd of fans, and we always see a side of them we never expected," said Sarah Trahern, GAC Senior VP of Programming.  "Answering questions directly from their fans really gets to the heart of who they are, and the featured artists tell us they enjoy themselves as much as the audience does."
 
CMA Music Festival After Hours(tm) Presented by CMT(tm)
The fun never ends. Sixteen clubs participated in CMA Music Festival After Hours presented by CMT offering drink specials and activities for festival goers and Nashvillians.

"The Official CMA After Hours Kick-Off Concerts" were held at the Hard Rock Outdoor Stage with performances by The Clark Brothers, Whiskey Falls, and Mark Wills. Hard Rock Café Nashville's Stub Hub Songwriters in the Round returned to the After Hours lineup for its second year providing fans a glimpse into the stories behind the songs.

ABC Daytime
Drama is a staple of both Country Music lyrics and daytime television series, and the artists and actors met at the crossroads during 2008 CMA Music Festival when the ABC daytime stars of "All My Children," "One Life to Live," and "General Hospital" made their return at the Festival.

Daytime actors that attended CMA Music Festival included Bobbie Eakes ("Krystal Carey") and Ricky Paull Goldin ("Jake Martin") from "All My Children;" Kassie DePaiva ("Blair Cramer") from "One Life To Live;" and Bradford Anderson ("Damian Spinelli"), Rebecca Herbst ("Elizabeth Webber"), and Jason Thompson ("Dr. Patrick Drake") from "General Hospital".

ABC Block Party
The ABC Block Party hosted by "Bachelor" alum Bob Guiney on Saturday included a performance by Country artist Marcel, appearances by the Daytime stars including a performances by Kassie DePaiva and Bobbie Eakes, a question and answer session with two-time "Dancing With the Stars" champion and emerging Country star Julianne Hough, and trivia contests where winners received "Dirty, Sexy Money" that could be redeemed onsite for ABC merchandise.

Media Coverage
More than 750 journalists from more than 200 domestic and international media outlets were credentialed for 2008 CMA Music Festival. Among the domestic outlets at CMA Music Festival were ABC.com, ABC Radio Networks, Amazon.com, AOL, Associated Press, CMT, Country Weekly, GAC, Getty Images, In Touch Weekly, KidzBop.com, MSN, OK Magazine, Outdoor Channel, People, Premiere Radio Networks, Reuters, The Tennessean, USA Today, and US Weekly, International media from 14 countries were credentialed as well, including Australia, Brazil, Canada, France, Germany, Ireland, Luxembourg, The Netherlands, Sweden, Switzerland, and the United Kingdom. Among the 49 international outlets represented were Bayerischer Rundfunk/Bayern 3 (Germany), BBC Radio Lancashire (UK), Country Music Channel (Australia), Disney Tribune (France), Maverick Magazine (UK), The Music Network (Australia), Personalities Magazine and ptvireland.com (Ireland), Queensland Country Life (Australia), RTL (France), and more.

Sponsorship
Sponsorship is a key element to the marketing, fan experience and financial support of the Festival. Nearly 70 partners gave out more than 300,000 product samples.

VAULT was present in the Fun Zone and title sponsor of the LP Field concert stage. "The CMA Festival was a great event for VAULT - we definitely got it done and then some," said Neil Golson, VAULT Brand Manager. "We were able to spread the word about this fantastic brand, and quench the thirst of tens of thousands of Country Music fans over the course of the long weekend."

Greased Lightning Cleaning Products passed out more than 36,000 trial size samples of their cleaning product.

"Country Music fans continue to amaze," said Craig LaPointe, Event Manager for Greased Lightning. "With Greased Lightning's involvement at the Festival since the inception of the Riverfront stages in 2001, 2008 proved to be the perfect place for Greased Lightning to call attention to our newest promotion, wesponsoranything.com. This year's tremendous turnout and fan appreciation laid the exciting groundwork for the 2009 CMA Music Festival possibilities."

truTV distributed 800 gas cards and 11,000 key chains and mint tins to fans. Fans also recorded DVDs in front of a green screen that made it look like they were on an oil rig. 

Tetley Tea distributed 30,000 wet samples in the Fun Zone and 20,000 dry samples in the Fan Fair Exhibit Hall.

With temperatures in the 90s, Blue Bell Creameries was a popular spot in the Fun Zone, where they handed out 20,000 ice cream samples. And there was a lot of puppy love in the Chevy Sports Zone with 16,000 Waggin' Train Dog Treats samples handed out in the Fun and Sports Zones..

CMT passed out 2,200 foam fingers for the Super Fan sections at LP Field. CMT also provided an artist photo for every fan who passed through their autograph line at the Fan Fair Hall. They made autograph hunting easier by handing out 2,500 sharpies and produced 1,500 "Can You Duet" CDs for fans who sang in the Can You Duet booth.

McDonald's was a first-time sponsor in the McDonald's-Dr Pepper Family Zone in 2008. They distributed 20,000 coupons for Southern Style chicken sandwiches and biscuits, 11,000 coupons for iced coffee, 11,600 servings of McDonald's Apple Dippers, and 10,300 servings of McDonald's Fun Cookies. They also provided 560 Southern Style Chicken Sandwiches, 720 Cherry Pies and 560 apple Dippers Sunday during the free McDonald's Family Picnic.

"McDonald's' participation in the 2008 CMA Music Festival was a terrific opportunity to connect to our customer's passion for Country Music," said Ted Bertuca Jr., a local McDonald's Owner/Operator.
 
"I found the CMA Festival to be the total entertainment package - great music combined various fun and interesting activities. That, together with eclectic downtown Nashville, it offered something for everyone! What I found most impressive, was how nice the crowd was," said Cathy Kolumbus, Senior Brand Manager, Tetley USA. "Everyone we spoke to was genuine and seemed to be having a great time, despite the heat."

2009 CMA Music Festival Tickets 
2009 CMA Music Festival will take place Thursday through Sunday, June 11-14, in Downtown Nashville and tickets are available now. Tickets for 2009 CMA Music Festival were available to Music Festival attendees during the event and available nationally today. The Gold Circle section is already sold out and tickets are selling at a rapid pace, 4.2 percent ahead of 2008 sales figures and 29 percent ahead of 2007 sales.  Fans are encouraged to order early for best available seating.

To order tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at 615-255-9600. Prices do not include applicable handling fees. Ticket prices are subject to change without notice. All sales are final and non-refundable. Four-day ticket package categories correspond to a different level of seating at LP Field. Children 3 years and younger are admitted FREE.

2009 CMA MUSIC FESTIVAL FOUR-DAY TICKET PACKAGE PRICES

LEVEL                                    ADULT                 12 & YOUNGER
Gold Circle (Floor)                  SOLD OUT           N/A
Floor Level                              $175                   $123
Lower Level                            $155                   $109
Club Level                               $145                   $102

ABC Television Special - Monday, Sept. 8
As previously announced, the Festival was filmed for a two-hour television special "CMA Music Festival: Country's Night to Rock" scheduled to air on the ABC Television Network Monday, Sept. 8 (9:00-11:00 PM/ET). Hosting the special for the first time will be two-time "Dancing with the Stars" champion Julianne Hough, former "American Idol" finalist Kellie Pickler and reigning CMA Horizon Award winner Taylor Swift. Robert Deaton is the Executive Producer. Gary Halvorson is the Director. The special was shot in high definition and will be broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

This is the fourth year the special will air on ABC. The primetime special debuted on the CBS Television Network in 2004.
 
Both the concerts and the interaction between the artists and fans will be captured in the special with heart-pounding performances interspersed with heart-warming encounters between the artists and their avid admirers. Taped exclusively for the special, cameras followed the stories of several Festival attendees, who had their dreams come true when they were granted a once-in-a-lifetime meeting and personal encounter with their favorite Country stars.

On the Web
The Second Annual Fan Social was held at Buck Wild Saloon on Saturday, where a maximum capacity crowd of MySpace and Facebook social-networking friends met in-person. Capitol Records Nashville recording group Lady Antebellum, who performed at the first of these gatherings in 2007, returned with an acoustic performance. Lyric Street artist Trent Tomlinson performed and participated in an autograph session.

For up-to-the-minute information about tickets, travel information, schedules, artists appearing at 2009 CMA Music Festival and more, visit www.CMAfest.com and sign up for Exclusive, a periodic e-newsletter with exciting artist features and Country Music news.

   

Images for above article.

 

 

 

 
Keith Urban was a surprise performer at the Nightly Concert on the Vault Concert Stage LP Field Friday, June 6 in Downtown Nashville during the 2008 CMA Music Festival. Urban, who performed a song while walking through the audience, is shown autographing his guitar for a fan.
Photo: John Russell / CMA

 

Jessica Simpson greets Ellis Woodall III from Nashville, Tenn., in the truTV Fan Fair Hall at the Nashville Convention Center Friday, June 6 during the 2008 CMA Music Festival. Simpson also greeted the crowd at the Nightly Concert on the Vault Concert Stage LP Field Thursday, June 5.
Photo: Jim Hagans / CMA

 

Rascal Flatts makes a surprise appearance and performs at the Nightly Concert on the Vault Concert Stage LP Field Thursday, June 5 in Downtown Nashville during the 2008 CMA Music Festival.
Photo: John Russell / CMA

 

Taylor Swift signs an autograph for Becky DuVarney from Owego, N.Y., in the truTV Fan Fair Hall at the Nashville Convention Center. Swift spent 8 hours meeting fans during the 2008 CMA Music Festival as well as performing the Vault Concert Stage LP Field. Swift will co-host the upcoming "CMA Music Festival: Country's Night To Rock" special on ABC.
Photo: Jim Hagans / CMA

 

 

 

COUNTDOWN TO 2008 CMA MUSIC FESTIVAL
By Maria Eckhardt

 

© 2008 CMA Close Up® News Service / Country Music Association, Inc.

The 2008 CMA Music Festival gets bigger and better with music, sports, food and fun. There is so much to do and see at this four-day festival that it takes seven days to get it all in.

The fun begins tonight!

Worldwide Event

On Tuesday (3:30-6:00 PM) at The Second Fiddle on Broadway, Robert Reynolds hosts the AristoMedia Global Showcase. Artists participating include Victoria Banks (Canada), Jason Blaine (Canada), Adam Harvey (Australia), Jetty Road (Australia), Tracy Killeen (Australia), Amber Nicholson (Canada), Felicity Urquhart (Australia), and Mark Wells (Australia).

This event is free and open to the public.

Country Hit Parade
"The Fourth Annual CMA Music Festival Kick-Off Parade" will be held Wednesday (2:00 PM) featuring Country Music artists and celebrities riding in Chevy Corvette convertibles and Silverados. James Otto is the Grand Marshal and other participants include Deborah Allen, Katie Armiger, riders from Championship Bull Riding, Erika Jo, Crystal Gayle, The Grascals, Jeff Griffith, Indian Rodeo, Lonestar, Jason Meadows, Mountain Heart, Michael Martin Murphey, several of NASCAR's top drivers, One Flew South, The Roys, Phil Stacey, Keni Thomas, Trent Tomlinson, Rhonda Towns, Kyle Wyley, and Chris Young. Other participants include the Antioch High School Marching Band and Drill Team; the Overton High School drumline; the Girl Scouts of Middle Tennessee riding on their float; the Boy Scouts of Middle Tennessee, and various Southeast Region Chevy Youth Baseball teams. In addition, a caravan of Corvette enthusiasts will join the parade.

Beginning at the corner of Broadway and Sixth Avenue North, the procession will travel down Broadway; turn right on Third Avenue South; proceed down Third Avenue South until turning right on Demonbreun; proceed up Demonbreun to Sixth Avenue, and end at the Sommet Center.

Immediately following the parade, "The Third Annual CMA Block Party" will take place at the Chevy Music Stage (3:00 PM) on the Chevy Plaza at the Sommet Center (Fifth Avenue South and Broadway). Performers include Keith Anderson, Zac Brown Band, Luke Bryan, Joe Nichols, James Otto, Phil Stacey, and Chris Young

Bring On the Night
An official part of CMA Music Festival this year is "Marty Stuart's Late Night Jam" on Wednesday (10:00 PM) at the historic Ryman Auditorium. Stuart's seventh annual event, benefitting MusicCares and CMA's Keep the Music Playing education campaign, features performances by Charlie Daniels, Mike Farris, Dallas Frazier, Kostas, Kathy Mattea, Old Crow Medicine Show, John Rich, Connie Smith, The SteelDrivers, Marty Stuart and his Fabulous Superlatives, Sunny Sweeney, Gretchen Wilson, and surprise guests.

A separate ticket is required for the Late Night Jam and can be purchased at www.ryman.com.

The Fun "Officially" Begins
The 2008 CMA Music Festival officially begins Thursday and continues through Sunday with hundreds celebrities and artists, 100 hours of concerts, 30 hours of autograph signings, family activities, sporting competitions, grilling and barbequing contests, interactive exhibits, giveaways games, and much more.

"CMA Music Festival is the ultimate destination for music lovers," said CMA Chief Executive Officer Tammy Genovese. "Fans come back year after year to experience all of the fun and excitement that the Festival and the City of Nashville have to offer. From our daily concerts on the Greased Lightning® Riverfront Daytime Stages, to the truTV(tm) Exhibit Hall, our free stages in the Zones, the After Hours parties, and of course the nightly concerts on the VAULT(tm) Concert Stage at LP Field, our lineup is amazing. CMA Music Festival is a music lover's dream."

"Keep the Music Playing"
And it all aids music education for public school students through the benefit program "Keep the Music Playing." The artists who participate in CMA Music Festival are not compensated for the hours they spend performing and signing autographs. To show its appreciation, CMA contributes half the net proceeds from the event on behalf of the artists. To date, CMA has contributed more than $1.1 million to support music education in Metro Nashville Public Schools.

"Rollin' on the River"
Phil Vassar and Jo Dee Messina will kick off four days of non-stop concerts with their high energy shows at the Greased Lightning Riverfront Daytime Stages on Thursday (10:00 AM). Joining them during the opening show will be Deborah Allen, Luke Bryan, Jason Michael Carroll, and Chuck Wicks. And that is just the beginning.  Over the course of the Festival, more than 100 artists are scheduled to perform on the banks of the Cumberland River.

Artists include Charlie Allen, Bill Anderson, Keith Anderson, Katie Armiger, Jeff Bates, Bellamy Brothers, John Berry, Bo Bice, Lee Brice, Dean Brody, Lane Brody, T. Graham Brown, Zac Brown, Laura Bryna, Tracy Byrd, Carolina Rain, Carters Chord, Mark Chesnutt, Eric Church, Stephen Cochran, Cowboy Crush, Crossin Dixon, Star DeAzlan, Drew Davis Band, Whitney Duncan, Eli Young Band, Emerson Drive, Erika Jo, Flynnville Train, Jimmy Fortune, Ashley Gearing, Billy Gilman, Josh Gracin, Adam Gregory, Jeff Griffith with Joe Stampley, Andy Griggs, Greg Hanna, Jennifer Hanson, Heartland, Ty Herndon, The Honky Tonk Tailgate Party featuring Buddy Jewell, Ray Scott, Trent Willmon and Mark Wills, Randy Houser, Rick Huckaby, Con Hunley, Emma Mae Jacob, Sarah Johns, Jamey Johnson, Jypsi, James LeBlanc, LoCash Cowboys, Lonestar, Lost Trailers, Rockie Lynne, Raul Malo, Jeremy McComb, Neal McCoy, Mindy McCready, Jason Meadows, Justin Moore, Lorrie Morgan, Megan Mullins, Mel McDaniel, Richie McDonald, Michael Martin Murphey, Minnie Murphy, David Nail, Heidi Newfield, Joe Nichols, Oak Ridge Boys, Jamie O'Neal, Jake Owen, Rissi Palmer, Danielle Peck, Telstra winner Jasmine Rae, Eddy Raven, Rio Grand, The Road Hammers, Mica Roberts, The Roys, Crystal Shawanda, Ashton Shepherd, TG Sheppard, Phil Stacey, Jeffrey Steele, Fisher Stevenson, Doug Stone, Sunny Sweeney, Mel Tillis, Aaron Tippin, Rhonda Towns, Trailer Choir, Jimmy Wayne, Emily West, Whiskey Falls, Bryan White, Darryl Worley, Billy Yates, and Chris Young.

The concerts are hosted by a variety of celebrities and broadcast personalities including GAC host Suzanne Alexander, GAC and WSM-AM personality Bill Cody, 95.5 The Wolf's Jim Day, CMT's "Gone Country" contestant and "American Idol" finalist Diana Degarmo, WUBL/Atlanta's Slam Duncan, WGSQ-FM personality Phillip Gibbons, Country Aircheck's Lon Helton, GAC Radio's Donna Hughes, Tennessean columnist Beverly Keel, WSIX midday jock Newman, WKRN News Channel 2's Brad Schmitt, co-host of FOX 17's "Tennessee Mornings" Kelly Sutton, 103.3 WKDF's Becca Walls, "Country Music Across America's" Storme Warren, singer/songwriter Billy Yates, and the stars of ABC Daytime.

Single-day tickets for the Greased Lightning Riverfront Daytime Stages will be sold the day of each show at the gate for $16 each. Children 6 and younger are admitted to the Daily Concerts at the Greased Lightning Riverfront Daytime Stages free of charge with a paying adult, making this a very family-friendly destination during the Festival.

Party Under the Stars
LP Field will become VAULT Country with samples of the hybrid energy soda available as fans exit the stadium. The Nightly Concerts on the VAULT Concert Stage at LP Field (home of the NFL's Tennessee Titans) feature the biggest names in Country Music, emerging stars and surprise guests. Fans have a front-row shot from the popular Photo Line, which is in constant motion in front of the stage during the performances.

Pre-show activities opening night (7:30 PM/CT) include the presentation of the Stars and Stripes by the United States Marine Corps Recruiting Station Nashville Color Guard and a fly over with FA-18s from The Bengals of VMFA (AW)-224 from Marine Corps Air Station, Beaufort, S.C. Lyric Street recording artist Phil Stacey will sing the National Anthem and Nashville Mayor Karl Dean will officially welcome the fans to Music City. Performers include (artists and schedule subject to change):

Thursday (7:30 PM) - Jennifer Hanson, Montgomery Gentry, Kellie Pickler, Luke Bryan, Jewel, Taylor Swift, and Sugarland.

 Friday (7:45 PM) - Ashton Shepherd, Jack Ingram, Lady Antebellum, Miranda Lambert, Carrie Underwood, Josh Turner, Jake Owen, and Faith Hill.

Saturday (7:45 PM) - Jason Michael Carroll, Craig Morgan, Little Big Town, Jamey Johnson, Rodney Atkins, Darryl Worley, Trace Adkins, Alan Jackson, and Kenny Rogers.

Sunday (7:45 PM) - Chuck Wicks, James Otto, Bucky Covington, Randy Travis, John Stephan, Sara Evans, Billy Ray Cyrus, Phil Stacey, and Dwight Yoakam.

Hosts for the Nightly Concerts are "General Hospital's" Bradford Anderson, CMT personality Allison DeMarcus, "One Life to Live's" Kassie DePaiva, "All My Children's" Bobbie Eakes, "All My Children's" Ricky Paull Goldin, "General Hospital's" Rebecca Herbst, standup comedian Killer Beaz, "General Hospital's" Jason Thompson, and GAC and XM personality Storme Warren.

The Nightly Concerts on the VAULT Concert Stage at LP Field feature state-of-the-art production and fireworks at the conclusion of each show. The fireworks display is generously sponsored by VAULT on Thursday, June 5; Greased Lightning on Friday, June 6; and Chevy(tm) on Saturday, June 7. 

Tickets for each nightly show at LP Field can be purchased at a cost of $40 for reserved seating and $30 for general admission. Single night tickets can be purchased in advance through the CMA Music Festival Box Office at The Sommet Center Box Office, 501 Broadway, Nashville, Tenn., or toll free at 1-800 CMA-FEST (262-3378). Tickets are also available through Ticketmaster at (615) 255-9600, www.ticketmaster.com and all Ticketmaster outlets. Ticket price does not include applicable handling fees.

Single night concert tickets will also be sold during CMA Music Festival at the LP Field ticket office beginning Wednesday. The single night concert ticket is only good for that night's performance at LP Field.

truTV(tm) Fan Fair® Hall
The lifestyle exhibits and autograph booths in the Nashville Convention Center are a traditional favorite. Entrance into the truTV Fan Fair Hall is included in the four-day ticket package. For the first time ever, individual daily tickets will be available for Saturday and Sunday, for $20 per day, plus applicable handling fees. The tickets can be purchased in advance by calling 1-800-CMA-FEST (262-3378); or onsite during the event at the box office at the Sommet Center. Artists scheduled to sign autographs include legends, today's hitmakers and tomorrow's hopefuls.

Performers and celebrities scheduled to appear in the truTV Fan Fair Hall include Curtis Alan, Charlie Allen, Deborah Allen, Suzanne Alexander, Bill Anderson, Keith Anderson, Lynn Anderson, Katie Armiger, Sam Bass, Jeff Bates, Bo Bice, Bonnie Lou Bishop, Bluefield, Bonner Bolton, Lee Brice, Lane Brody, Jason Brown, Brownell & Richey, Luke Bryan, Laura Bryna, Sarah Buxton, Tracy Byrd, David Byrnes, Caitlin & Will, Don Campbell, Carolina Rain, Jason Michael Carroll, Cash Creek Band, Mark Chesnutt, Billy Childers, Eric Church, Steven Clawson, Will Clements, Stephen Cochran, Austin Cody, Bill Cody, Dan Colehour, Elizabeth Cook, Katie Cook, The Coppolas, Brad Cotter, Bucky Covington, Cowboy Troy, Timothy Craig, Candice Crain, Crook & Chase, Stephen Dale, Justin David, Star De Azlan, Deepstep, Diana DeGarmo, Kassie DePaiva, Drew Davis Band, Eric Durrance, Eli Young Band, Emerson Drive, Ralph Emery, Erika Jo, Jace Everett, Donna Fargo, Joey & Rory Feek, Flynnville Train, Crystal Gayle, Freddie Gill, Billy Gilman, Josh Gracin, The Grascals, Jack Greene, Ben Gregg, Adam Gregory, Jeff Griffith, Angela Hacker, Jennifer Hanson,Vince Hatfield, Heartland, Tuff Hedeman, Amanda Henkel, Ty Herndon, Katelyn Hobson, Lucas Hoge, Shelby Horner, Hot Apple Pie, Julianne Hough, James House, Randy Houser, Rick Huckaby, Con Hunley, Jack Ingram, Julie Ingram, Emma Mae Jacob, Buddy Jewell, Jamey Johnson, Ben "Cooter" Jones, Zona Jones, Jypsi, Christian Kane, Cooper Kanngiesser, Sage Keffer, Kentucky Headhunters, Johnny Knapp, Mikel Knight, David Kroll, Lady Antebellum, James LeBlanc, Ladden Ledbetter, Zane Lewis, Little Big Town, Little Texas, Jake Littlefield, Lonestar, The Lost Trailers, Sherry Lynn, Marshal Reign, Daniel Lee Martin, Joey Martin, Kim McAbee, Cody McCarver, Jeremy McComb, Neal McCoy, Rich McCready, Mel McDaniel, Steve McGranahan, Jason Meadows, Charlotte Medley, Jo Dee Messina, Barry Michael, Ronnie Milsap, Travis Moody, DeAnne Moore, Justin Moore, Moore & Moore, Lorrie Morgan, Brooke Morton, Mountain Heart, Michael Martin Murphey, Mustang Creek, David Nail, Josh Newcom, Heidi Newfield, Joe Nichols, Nick Nicholson, David Paul Nowlin, One Flew South, Jamie O'Neal, Todd O'Neil, James Otto, Jake Owen, Ashlee Page, Danielle Peck, Michael Peterson, Reunionaires, Amber Rhodes, Steve Richard, Riders In the Sky, Rio Grand, The Road Hammers, Julie Roberts, Mica Roberts, The Roys, Sammy Sadler, David St. Romain, Travis Sellers, Kevin Sharp, Crystal Shawanda, Ashton Shepherd, Thom Shepherd, TG Sheppard, Martha Sides, Wesley Silcox, Wade Sims, Damon Smith, Daniel Smith, Skyla Spencer, Phil Stacey, Fisher Stevenson, Paul Stout, Sunny Sweeney, Taylor Swift, Keni Thomas, Mel Tillis, Aaron Tippin, Trent Tomlinson, Rhonda Towns, Trailer Choir, Carrie Underwood, Jessica Cayne Urick, Rusty Van Sickle, Phil Vassar, Jenna von Oy, Taylor Ware, Darren Warren, Storme Warren, Jimmy Wayne, Well Hungarians, Emily West, Whiskey Falls, Bryan White, Jonalee White, White Acre, Chuck Wicks, Rachel Williams, Trent Willmon, Mark Wills, Gretchen Wilson, Blake Wise, Nicole Witt, Steven Woolsey, Darryl Worley, Wynnona, Billy Yates, Chris Young and many others. Artists are subject to change.

A popular feature of the truTV Fan Fair Hall is Mary Kay ® Presents the Acoustic Corner.  This area, on the second floor of the Nashville Convention Center in Room 209, offers independent artists a place to showcase their talent. Open daily (Thursday and Friday 11:00 AM -5:30 PM and Saturday and Sunday (11:00 AM - 3:15 PM), Mary Kay Presents Acoustic Corner is free for all four-day ticket holders.  Artist performance times will be posted on-site daily.

Artists scheduled to perform at Mary Kay Presents the Acoustic Corner include Cash Creek, Will Clements, Austin Cody, Dan Colehour, Cowboy Joe & The Babcocks, Timothy Craig, James Taylor Curtis, Justin David, Kassie DePaiva, Jace Everett, Chris Gray, Ben Gregg, Dennie Hall, Sage Keffer, Jimmy Kish the Flying Cowboy, Miko Marks, Marshal Reign, Brooke Morton, Mustang Creek, Todd O'Neill, Ashlee Page, Thom Shepherd, Damon Smith, TelluRide, Brandi Thorton, Rhonda Towns, Jenna von Oy, Well Hungarians, Rachel Williams, and World's Greatest Fishing Band. Artist lineup is subject to change.

Zoned Out
Chevy(tm) Sports Zone
is the place for sporting fun, friendly competitions between celebrities, athletes, and more. Located in the parking lot at the corner of Demonbreun and Fifth Avenue (behind the Sommet Center), the Chevy Sports Zone is open Thursday through Saturday (11:00 AM-5:00 PM) and Sunday (11:00 AM-4:00 PM). Admission is free to the public.

On Thursday the "Ultimate K9s Sports Show presented by Waggin' Train Dog Treats" will entertain fans with three shows (11:30 AM, 1:30 PM, and 3:30 PM). John Misita and his amazing K9s are the premiere Frisbee dog entertainers in the world with a show full of cutting edge, high flying acrobatics. Misita adopted all of his dogs, and their show promotes the importance of pet adoption and healthcare.

Also on Thursday (12:30 PM-3:30PM), "The Field & Stream Celebrity Total Outdoorsman Challenge presented by Mobil 1" will certainly be a highlight. Country Music artists and other celebrities will get to show off their outdoor skills with contests in archery, fly casting, bait casting, and air rifle and attempt to dethrone the two-time Total Outdoorsman Challenge Champion Paul Thompson. Celebrities scheduled to compete include Rhean Boyer of Carolina Rain, Kevin Fowler, Greg Hanna, Daniel Lee Martin, Jeremy McComb, Rusty Tabor, Bryan White, Mark Wills, and more.

NASCAR fans can get autographs from some of the sport's hottest drivers in the Chevy Sports Zone on Thursday (2:30 PM-3:30 PM). Jason Keller (No. 11 America's Incredible Pizza Chevrolet/CJM Racing), Brad Keselowski (No. 88 NAVY Chevrolet/JR Motorsports), David Stremme (No. 64 Atreus Homes and Communities Chevrolet/Rusty Wallace Racing), and Scott Wimmer (No. 29 Holiday Inn Chevrolet/Richard Childress Racing) will all be on hand to sign autographs and meet their fans. 2008 World Series of Asphalt Champion Logan Ruffin will be signing as well. In addition, FLW pro fisherman Luke Clausen and Larry Nixon will be signing and sharing fishing tips.

On Thursday, Friday and Saturday (1:00 PM and 3:00 PM), DockDogs Competitions Presented by Outdoor Channel will take place. The competitions will take place in the DockDogs' 25,000 gallon mobile pool. Up to 30 dogs will compete each day in three different events: Big Air® - long jumping for dogs, where dogs compete for longest distance jumped from the end of the dock; Extreme Vertical® - the high jumping equivalent where dogs attempt to grab a bumper at increasing heights; Speed RetrieveT - a speed event where the dog is timed from a "go" signal until a bumper is retrieved at a point a specific distance from the edge of the dock. On Sunday, the winners from Thursday-Saturday will compete for the chance to move on to the United States Championship to be held in Minnesota in the summer. On Sunday (2:00 PM/CT), the DockDogs Celebrity Challenge will team artists and canines for high flying competition. Competitors include CMT's Katie Cook, Julie Roberts, Phil Stacey, Trent Willmon, Mark Wills, and more.

On Friday (11:00 AM-1:00 PM), the Celebrity Sports Challenge Presented by Glaceau VitaminWater® Hosted by Steve Azar will be held in the Chevy Sports Zone. The Sports Challenge is a fan favorite with an astounding array of professional athletes and celebrities competing alongside artists in friendly competitions.  Particiapants include:
Terry Ahola, U.S. Olympic Ski Team Member
Deborah Allen, artist
Bradford Anderson, star of "One Life to Live"
Jessica Andrews, artist
Rob Bironas, kicker for the Tennessee Titans
Bomshel, artist
Chad Brock, artist
Jeremy Cain, linebacker for the Tennessee Titans
Rocky Calmus, NFL linebacker (Tennesee Titans/Indianapolis Colts)
Carolina Rain, artist
Steve Cole, former NFL linebacker (Cleveland Browns/Philadelphia Eagles)
John Castellanos, star of "The Young and The Restless"
Brad Cotter, artist
Jim Fitzpatrick, actor
Colt Ford, artist
MJ Garrett, from MTV's "The Real World"
Craig Hentrich, NFL punter (Tennessee Titans/New York Jets/Green Bay Packers)
James House, artist
Angela Jerman, LPGA golfer
Ray Lloyd, professional wrestler
Steve Lundquist, member of the U.S. Olympic swim team
Jesse Mahelona, NFL defensive tackle (Tennessee Titans/Atlanta Falcons)
Marcel, artist
Brad Mates, of Emerson Drive
Jason Meadows, artist
John Adam Murph, artist
Josh Stamer, linebacker for the Tennessee Titans
Keni Thomas, artist
Gino Torretta, NFL quarterback (Minnesota Vikings/Detroit Lions)
Kevin Turner, NFL running back (New England Patriots/Philaelphia Eagles)
Two Foot Fred, Muzik Mafia personality
Gary Valentine, actor
Jimmie Van Zant, artist
Bryan White, artist
Wild Bill, "AM Choppers Show" personality
Wolf, American Gladiator

At 12:00 PM/CT on Friday, Field & Stream will hold their Total Outdoorsman Challenge local and regional qualifying events in the Chevy Sports Zone. Outdoor enthusiasts will test their skills in archery, air rifle and bait casting skills.  The local qualifier champion will receive an all-expense paid trip to the 2008 CMA Awards for two. 

Also on Friday (2:00 PM), the Outdoor Life Calling for Conservation competition will take place. Hosted by Shoot Straight TV's Chad Schearer, this ultimate game-calling contest will highlight the launch of a new conservation program: Outdoor Life's "Project Save-A-Stream," a nationwide program dedicated to cleaning up our waterways. This is a new nationwide program to clean up our waterways. Schearer will lead professional and celebrity callers, including singer Jason Brown, in a contest to determine the best turkey and big game calls. Throughout the coming year, Outdoor Life's "Project-Save-A-Stream" will lend support to water clean-up projects around the country. To nominate a waterway in your area to receive assistance, please visit OutdoorLife.com.

Saturday (11:00 AM-5:00PM) and Sunday (11:00 AM-3:00 PM) in the Chevy Sports Zone, the first ever CMA Music Festival BBQ Championship will take place. Teams from across the nation will compete in four categories (pork ribs, pork shoulder, beef brisket and chicken) for a chance to win a share of more than $17,000 in cash and prizes to be distributed to category winners. The Grand Champion of the CMA Music Festival BBQ Championship will receive $2,500, a CMA Awards trip package for two including accommodations, an invitation to take part in the prestigious KCBS-sanctioned American Royale competition, and eligibility to participate in the Jack Daniel's World Championship Invitational Barbecue (better known as "The Jack") in late October in Lynchburg, TN. Thirty teams are ready to compete including Lotta Bull (the 2006 KCBS
Team of the Year, featuring head chef Mike Davis); Bigbrig.com (three-time Memphis in May World Champion, featuring head chef Paul Hood); Moonshiners (2007 Jack Daniels World Champion, featuring head chef Chad Hayden); Ulcer Acres (considered the "Reverend of BBQ," featuring Head Chef Randy Twyford); and Buttrub.com (a multiple award winning team at barbeque contests, featuring head chef Byron Chism). Nashville Mayor Karl Dean and Tony Conway, Executive Producer of the CMA Music Festival will be among the judges. The winner will be announced Sunday at 3:00 PM.

Country artists can try their hand at bull riding on Saturday (11:00 AM-12:00 PM) during the CBR/RFD-TV Celebrity Bull Riding Challenge. Artists will square off against champion bull riders to see who can make the eight seconds. Hosted by Tuff Hedeman, five-time World Champion and President of CBR, other participants include Jason Brown, Ladden Ledbetter, Jake Littlefield, Josh Newcom, Danny Rivera, Travis Sellers, Wesley Silcox, Trent Willmon, and Steve Woolsey.

Also on Saturday (2:00 PM-4:00 PM) the Chevy Sports Zone will be the location for the Fiesta Celebrity Grilling Challenge. Hosted by Lee McWright, Executive Chef for Fiesta Gas Grills, artists and celebrities will be paired with professional chefs in a culinary competition. Judges include Emma Feigenbaum, Everyday Food Associate Editor and co-host of PBS television series "Everyday Food," and Kay West, food critic, freelance journalist and People correspondent. Competitors include:
Jason Brumm, owner of radius10 restaurant (Nashville)
Lorianne Crook, co-host of RFD-TV's "Crook & Chase"
George Harvell, chef at the Loveless Cafe
Jamie O'Neal, artist
Mel Tillis, artist
Karl Trohaska, chef  at Sheraton Hotels Nashville
Brian Uhl, Executive Chef at Sunset Grill, Midtown Café and Cabana (Nashville)
Mark Wills, artist

On Sunday (11:30 AM), "The Third Annual New Holland/Michael Peterson Celebrity Tractor Race" will take place. During this event, Country Music artitsts and celebrities will race against the clock through an obstacle course on a New Holland Boomer(tm) compact tractor.  In addition to Peterson, participants include:
Alvarado Road Show, artist
Rob Bironas, kicker for the Tennessee Titans
Billy Block, host of "Western Beat"
Mark Collie, artist
Kerry Collins, NFL quarterback (Carolina Panthers/Tennessee Titans)
Joey Feek & Rory Martin Feek, contestants from CMT's "Can You Duet"
Jimmy Fortune, 2008 Country Music Hall of Fame inductee
Greg Hanna, artist
Joe Jobe, CEO of the National Biodiesel Board
Chuck Leavell, Rolling Stones' keyboardist
Darby Ledbetter, National Guard member
Zane Lewis, artist
Daniel Loper, tackle for the Tennessee Titans
Robert K. Oermann, Country Music historian/journalist
Danny Rivera, artist
Michael Roos, offensive tackle for the Tennesee Titans
Ray Scott, artist
Keni Thomas, artist
Jimmie Van Zant, artist
Trent Willmon, artist
Billy Yates, artist

The McDonald's®-Dr Pepper® Family Zone is designed for young children as well as the young at heart. This free area, located at the Hall of Fame Park at Fifth Avenue South and Demonbreun Street in front of Hilton Hotel, is open Thursday-Saturday (11:00 AM-5:00 PM); Sunday (11:00 AM-4:00 PM).

At the McDonald's-Dr Pepper Family Zone, kids can climb inflatables, participate in interactive games, arts and crafts, and more, while everyone can enjoy the exhibits, displays, food sampling and giveaways from Coca-Cola®, Dr Pepper, the Girl Scouts of Middle Tennessee, Space Chimps, and Strawberry Shortcake.

CMA Music Festival's younger fans can enjoy live music and stage shows at the Family Zone's Main Stage. Performers slated to appear include Adam and the Couch Potatoes, Katie Chance, Eve and Mare, Grandbob, Tim Hannig's Pro-Kids Show, The Hollow Trees, Kid Fiddlers, Little Nashville, PBS' Miss Lori, Zak Morgan, Nashville Zoo Rainforest Show, Ronald McDonald Show, Dennis Scott, Strawberry Shortcake Show, Taylor Ware, and The Zinghoppers.

For the second year, top high school vocalists from across the country will compete for the prestigious title "Music City Rising Star." Performances will take place Thursday-Friday, on the Main Stage in the Family Zone Plaza. The Grand Champion "Music City Rising Star" will be announced Sunday on the Greased Lightning Riverfront Stages and will perform later that day on the McDonald's-Dr Pepper Family Zone Main Stage. The winner of this competition will receive one free private session with Linda Davis.

On Saturday (10:30 AM-3:00 PM), the 25th Annual YWCA Celebrity Auction will take place. Hosted by Steve Virginia with appearances by Katie Armiger, Jason Michael Carroll, Tennessee Titan Cortland Finnegan, Lady Antebellum, Sherry Lynn, Heidi Newfield, GAC host Storme Warren, and Brent Young, this popular event will feature a special videotaped message from Martina McBride and signed items from Trace Adkins, Alabama, Jason Aldean, Keith Anderson, Asleep at the Wheel, Rodney Atkins, Dierks Bentley, Luke Bryan, Brooks & Dunn, Garth Brooks, Kenny Chesney, Terri Clark, Jessi Colter, Bucky Covington, Billy Currington, Billy Dean, Little Jimmy Dickens, Vince Gill, Josh Gracin, Amy Grant, Faith Hill, Toby Keith, Little Big Town, Brad Paisley, Danielle Peck, John Prine, Rascal Flatts, LeAnn Rimes, Kenny Rogers, Blake Shelton, Phil Stacey, Taylor, Swift, Randy Travis, Carrie Underwood, Keith Urban, Phil Vassar, Gretchen Wilson, Darryl Worley, Wynonna, and more.

On Sunday (11:30 AM-1:30 PM), McDonald's will provide free lunch to the first 500 guests at the McDonald's Family Picnic.

The Carl Black Chevy booth is the place to go to meet and get autographs from celebrities and artists. Scheduled to appear are Big D & Bubba, Luke Bryan, Crossin Dixon, Adam Gregory, Justin Moore, Heidi Newfield, David St. Romaine, Ashton Shepherd, and Emily West.

Other Family Zone activities include character visits from Wow! Wow! Wubbzy and The Cabbage Patch Kids; and exhibits from Carl Black Chevrolet, Chevy(tm) Safe Kids, Coca-Cola®, and more.

The Fun Zone, located on Broadway between First Avenue South and Third Avenue South, will keep families excited and busy for hours while they enjoy interactive games, activities, celebrity appearances, product samples, giveaways, and more. Cool off on the Nashville Shores Water Slide. Get grilling tips, watch fun cooking demos from Fiesta Gas Grills and register to win a FREE grill. You can also stop by booths from others sponsors including Blue Bell Creameries, The Catfish Institute, CiCi's Pizza®, Facecard, Greased Lightning Cleaning Products, MARTHA WHITE FOODS, Tetley® Iced Tea, VAULT and Waggin' Train.

On Thursday (10:30 AM-12:00 PM), Super 8 will host an autograph signing with famous NASCAR driver Bobby Labonte and will have a register-to-win drawing for an autographed guitar. Super 8 is also sponsoring the "Super 8 Top 8," where attendees can vote at the Super 8 booth for their favorite performances from any of the CMA Music Festival concert stages. The top eight performances will be revealed at LP Field before Sunday night's concert.

Also in the Fun Zone, the USO will partner with CMA and Borders® for "Music Outreach." Borders will collect CDs, books and DVDs purchased by customers to be sent to the troops. Collection areas for these items will be set up at Borders' stores at the truTV Fan Fair Hall, Greased Lightning Riverfront Stages, and at LP Field. All items collected will be donated to the USO for distribution to troops stationed in Iraq, Afghanistan and other overseas locations. Tours of the Mobile USO unit will be offered to the general public. There also will be a hospitality area for troops and their families set up in the canteen location. Visitors will have the chance to demonstrate their support for the troops through written greetings via the USO's "Hello! From the Homefront" program.
 
New this year in the Fun Zone is the Hard Rock Outdoor Stage. Free and open to the public, this stage will showcase an array of Country Music artists including Brittini Black, Ash Bowers, Brother Trouble, Jason Brown, The Clark Brothers, Colt Ford, Gloriana, Bailey Grey, Indian Rodeo, Zane Lewis, Cody McCarver, Jason Meadows, Shawna Russell, Two Timers, Whiskey Falls, Mark Wills, Tommy Joe Wilson, The Wrights, and Kyle Wyley.

Put Some Drive In Your Country
The Chevy Plaza, at Fifth Avenue South and Broadway, is free and open to the public. Here fans can participate in the Chevy Ride & Drive Friday through Sunday and test drive some of the hottest Chevy cars and trucks.

In addition, there will be live daily concerts on the Chevy(tm) Stage. Artists participating in the daily concerts include Deborah Allen, Band of Heathens, Sonny Burgess, The Grascals, The Greencards, Hot Apple Pie, James House, Jedd Hughes, James Intveld, Sierra Hull, Kingbilly, La Familia, Little Joe, Lucky Bucks, Bobby Marquez, Daniel Lee Martin, Augie Meyers, Chase Mitchell, Cory Morrow, Mountain Heart, Gary Nichols, One Flew South, Noe Palma, Michael Peterson, Rueben Ramos, Charlie Rich, Jr., Riders in the Sky, Julie Roberts, SteelDrivers, Trent Summar, Keni Thomas, Dan Tyminski, and Michelle Wright.

XM Satellite radio will be broadcasting live each day from the Chevy Plaza.

CMA Celebrity Close Up presented by GAC(tm)
Back by popular demand, The CMA Celebrity Close Up Series presented by GAC, Great American Country Television Network will return to CMA Music Festival for a sixth consecutive year. Hosted by television personality Lorianne Crook, these sessions give fans an in-depth glimpse into an artist's life and personality. Two sessions are scheduled at the historic Ryman Auditorium.

 

Session One: Thursday (1:30 PM-3:00 PM) with Taylor Swift, Randy Travis and Gretchen Wilson.

 

 

 Session Two: Thursday (4:00 PM-5:30 PM) with Bucky Covington, Sara Evans. Joe Nichols, and Jake Owen.

CMA Celebrity Close up presented by GAC is a separately ticketed event. Ticket prices are $12 in advance or $17 the day of the event. Tickets can be purchased by calling 1-800-CMA-FEST (262-3378). Fans can also visit www.ticketmaster.com or stop by the Ryman Auditorium Box Office to purchase tickets.

CMA Music Festival After Hours presented by CMT
When the lights go down on LP Field's Nightly Concerts, the festivities are just beginning at 16 downtown clubs and lounges as CMA Music Festival After Hours presented by CMT gets underway.

"The Official CMA After Hours Kick-Off Concerts" will be held at the Hard Rock Outdoor Stage. The concerts will be held Thursday-Saturday following the Nightly Concerts on the VAULT Stage at LP Field. These concerts are free and open to the public. Artists participating include The Clark Brothers, Whiskey Falls, and Mark Wills.

Clubs participating in CMA Music Festival After Hours include Bailey's Pub & Grille, B.B. King's Blues Club, Buck Wild Saloon, Cadillac Ranch, Coyote Ugly, Hard Rock Café Nashville, Layla's Bluegrass Inn, Legends Corner, Limelight, Nashville Crossroads, Rippy's Smokin' Bar & Grill, Robert's Western World, Second Fiddle, The Stage on Broadway, Tootsie's Orchid Lounge and Wildhorse Saloon.

Hard Rock Café Nashville's Stub Hub Songwriters in the Round will return to the CMA Music Festival After Hours lineup for its second year.  These performances provide fans a glimpse into the stories behind the songs. Broadcast live on XM channel 16, proceeds from these shows benefit Musicians on Call.

Participating songwriters include Jessi Alexander, Dave Berg, Rodney Clawson, Ashley Gorley, Marv Green, Brett James, Luke Laird, Lee Thomas Miller, Tim Nichols, Bobby Pinson, Jon Randall, and Rivers Rutherford.

ABC Daytime Stars Shine at Festival
Stars from ABC's hit daytime dramas will make appearances at the 2008 CMA Music Festival. The actors include Bobbie Eakes ("Krystal Carey") and Ricky Paull Goldin ("Jake Martin") from "All My Children"; Kassie DePaiva ("Blair Cramer") from "One Life To Live"; and Bradford Anderson ("Damian Spinelli"), Rebecca Herbst ("Elizabeth Webber"), and Jason Thompson ("Dr. Patrick Drake") from "General Hospital."

They'll be busy! The actors will host concert performances at the Greased Lightning Daytime Stages at Riverfront Park; participate in storytelling in the McDonald's - Dr Pepper Family Zone; take part in the Celebrity Sports Challenge presented by Glacèau Vitaminwater, hosted by Steve Azar, in the Chevy Sports Zone; and introduce artists performing, during the Nightly Concerts on the VAULT Concert Stage at LP Field.

The actors will also make a stop at the ABC Block Party, which takes place on Saturday (1:30-5:00 PM) at the stage facing Fifth Avenue between the Sommet Center and the Hilton Hotel. Fans will enjoy performances, giveaways and special activities at this free event hosted by Bob Guiney of "The Bachelor."
 
Getting Around
A limited number of on-site, pay parking spots ($10 per vehicle) will be available each night at LP Field in Lots E and F, just across the Woodland Street Bridge. This parking lot is not available for pre-purchase. It is available for purchase on-site, on a first-come, first-serve basis Thursday and Friday (after 5:00 PM); and all day Saturday and Sunday. Ample paid surface lots and parking garages are also available in Downtown Nashville, conveniently accessible to LP Field via the Shelby Street Pedestrian Bridge.

CMA Music Festival activities are conveniently located in Downtown Nashville within walking distance. Plus, there is access to free shuttles at major CMA Music Festival event sites for all four-day ticket holders. Downtown shuttles run daily on a continuous loop. Handicapped-accessible shuttle buses are available with attendants to offer assistance.

Shopping
CMA Music Festival attendees can treasure the experience long after the event is over with merchandise purchased at this year's event.

The Festival product line will be available onsite through Music City Merchandise. Booths will be set up at the truTV Fan Fair Hall, Greased Lightning Riverfront Daytime Stages, McDonald's-Dr Pepper Family Zone, and LP Field. Additionally, merchandise will be available at The Sommet Center on Wednesday and Thursday during registration hours. Merchandise is subject to availability. CMA Music Festival stores and store locations are subject to change without notice. For complete merchandise information, or to order online, visit www.CMAfest.com.

Attendees can also purchase music on-site. Borders will have music stores set up at the truTV Fan Fair Hall, Greased Lightning Riverfront Daytime Stages and LP Field.

2008 Ticket Packages Still Available
Four-day ticket packages for 2008 CMA Music Festival are still available. The package categories correspond to different levels of seating at LP Field. Children 3 years and younger are admitted free. Four-day ticket packages include the Nightly Concerts at the VAULT Concert Stage at LP Field; Daily Concerts at the Greased Lightning Riverfront Daytime Stages; daily admittance to the truTV Fan Fair Exhibit Hall featuring Mary Kay presents the Acoustic Corner; McDonald's-Dr Pepper Family Zone; Fun Zone; Chevy Sports Zone; Chevy Music Stage; CMA Music Festival After Hours presented by CMT; free in-town shuttles; the award-winning CMA Music Festival Program Book; and CMA Music Festival pin. Prices do not include applicable handling fees. Ticket prices and artists are subject to change without notice. All sales are final and non-refundable.
* NOTE: Please call 1-800-CMA-FEST (262-3378) for information on ADA seating, which may be available in Sold Out sections.

2009 CMA Music Festival Tickets
The 2009 CMA Music Festival will take place Thursday through Sunday, June 11-14, in Downtown Nashville. Tickets for 2009 CMA Music Festival will be available for sale only in Nashville on Saturday and Sunday (9:30 AM-6:00 PM) at The Sommet Center Box Office, 501 Broadway; Saturday (9:30 AM-10:00 PM) at the LP Field Box Office and Sunday (1:00 PM-10:00 PM) at the LP Field Box Office.

Tickets for the 2009 CMA Music Festival will go on-sale nationwide Monday, June 11 (10:00 AM/CT).

To order tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at 615-255-9600. Prices do not include applicable handling fees. Ticket prices are subject to change without notice. All sales are final and non-refundable. Four-day ticket package categories correspond to a different level of seating at LP Field. Children 3 years and younger are admitted FREE.

2009 CMA MUSIC FESTIVAL FOUR-DAY TICKET PACKAGE PRICES
LEVEL                            ADULT                          12 & YOUNGER

Gold Circle (Floor)             $300                              n/a
Floor Renewable               $185                             $123
Floor Level                        $175                             $123
Lower Level Renewable    $165                             $109
Lower Level                       $155                             $109
Club Level Renewable       $155                              $102
Club Level                          $145                              $102

Gold Circle (floor) includes front stage reserved floor seating with great views; exclusive wait staff offering convenient food and beverage service at your seat; and preferential parking at LP Field (one complimentary pass per order). Limit four tickets per order. Gold Circle (floor) seats for the 2008 CMA Music Festival sold out quickly after going on sale last year. Order early for best seating.

ABC Television Special - Monday, Sept. 8
As previously announced, CMA Music Festival will be filmed for a two-hour television special. "CMA Music Festival: Country's Night to Rock" will air on the ABC Television Network Monday, Sept. 8 (9:00-11:00 PM/ET). Robert Deaton is the Executive Producer. Gary Halvorson is the Director.  This is the fourth year the special has aired on ABC. The primetime special debuted on the CBS Television Network in 2004. The special will be shot in high definition and broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

Both the concerts and the interaction between the artists and fans will be captured in the special with heart-pounding performances interspersed with heart-warming encounters between the artists and their avid admirers. Taped exclusively for the special, cameras will follow the stories of several Festival attendees, who will have their dreams come true when they are granted a surprise, once-in-a-lifetime meeting and personal encounter with their favorite Country stars.

Information
For up-to-the-minute information about tickets, travel information, schedules, artists appearing and more, visit www.CMAfest.com and sign up for e-news.

 

   

Images for above article.

 

 

 

 
Carrie Underwood will be meeting fans and signing autographs in the truTV Fan Fair Hall as well performing as part of the Nightly Concerts on the VAULT Concert Stage at LP Field during the 2008 CMA Music Festival in Downtown Nashville. CMA Music Festival takes place Thursday-Sunday, June 5-8. Photo Credit: Andrew Eccles
Photo: See Caption

 

James Otto will make his debut on the Nightly Concerts on the VAULT Concert Stage at LP Fieldas well as serving as Grand Marshal during "The Fourth Annual CMA Music Festival Kick-Off Parade." Photo credit: Kristin Barlowe.
Photo: See Caption

 

Taylor Swift will be meeting fans and signing autographs in the truTV Fan Fair Hall as well performing as part of the Nightly Concerts on the VAULT Concert Stage at LP Field during the 2008 CMA Music Festival in Downtown Nashville. CMA Music Festival takes place Thursday-Sunday, June 5-8. Photo Credit:Justin McIntosh.
Photo: See Caption

 

Phil Vassar will kick off 2008 CMA Music Festival with the opening performance on the Greased Lightning® Daytime Stages on Thursday, June 5, at 10:00 AM/CT in Downtown Nashville. Photo courtesy of Universal Records South.
Photo: See Caption

 

 

Issue Date: 5/27/2008  
 
CMA Inducts Emmylou Harris and Pop Stoneman into Hall of Fame
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association, Inc.

The inductions on April 27 of Ernest V. "Pop" Stoneman and Emmylou Harris into the Country Music Hall of Fame began with the people and ended with a vision of timelessness.

On this cool, sun-splashed Sunday afternoon, lovers of Country Music gathered outside of the Country Music Hall of Fame and Museum in Downtown Nashville. Running up the steps in the shade of a long white awning, a red carpet guided the gathering dignitaries toward the reception inside.

Harris arrived with manager Ken Levitan of Vector Management. Her appearance, blending beauty, elegance and Western aesthetic, was a metaphor for her music, whose grace in turn mirrored the patience she showed in greeting members of the press, giving each so much of her attention that it took her more than half an hour to make her way into the building.

Three of Pop Stoneman's daughters - Patsy, Roni and Donna - emerged from a limousine and stood together in an explosion of camera flashes, smiling radiantly, proud and bound by faith in their father's legacy. Sons and daughters, children and grandchildren, joined them inside - six generations in all, according to Randy Stoneman, son of the late Van Stoneman and one of Pop's grandsons.

For a couple of hours, festive conversation, accompanied discretely by the recorded strains of Chet Atkins' guitar, filled the Museum's lobby. Shortly after 7 PM, the lights dimmed and many of the attendees moved into the intimate 213-seat Ford Theater to witness another night of history being made.

The front row was reserved for inductees and special guests, including Tom T. Hall and the Statler Brothers, who will follow Harris and Stoneman into the Hall of Fame in a ceremony June 29. The atmosphere was alive with the mix of solemnity and celebration that's unique to this occasion.

Yet each Medallion and Induction Ceremony is unlike any other, given the contributions of the inductees.

On this evening, a recorded performance by steel guitarist Aubrey Ghent, an ecstatic "sacred steel" rendition of "When the Saints Go Marching In," fanned the heat of anticipation before Kyle Young, Director of the Country Music Hall of Fame and Museum, stepped forward and delivered his opening remarks.

"Over the course of 10 years, the Museum has presented 12 Medallion Ceremonies," he said. "Music, storytelling, fellowship and the presentation of a keepsake medal were the hallmarks of those celebrations. Last year, at the invitation of CMA, we were honored to see the Medallion Ceremony become the official rite of induction for new members."

Following witty yet respectful reflections from business leader and arts activist Steve Turner, who recently succeeded E. W. "Bud" Wendell as Chairman of the Museum, Vince Gill provided a haunting benediction with the hymn "Drifting Too Far From the Shore," which he recalled singing in 1981 with Harris at Red Rocks, Colo., shortly after the death of his grandfather.

Tammy Genovese, CMA CEO, remembered her conversation with Harris prior to the public announcement in February of the new Hall of Fame members chosen by CMA's anonymous panel of electors. "She captured the essence of the moment in one word: spiritual," she said. "It was clear in that one moment, in that one word, why she has been revered for preserving Country Music's past while expanding Country Music's horizons."

Noting as well the importance of Stoneman and the "transparent joy" that his family displayed at news of his election, Genovese yielded the podium back to Young, who acknowledged the musical and community luminaries in the audience before beginning his tribute to Stoneman, who enters the Hall of Fame through the category of "Career Achieved National Prominence Prior to World War II."

The next few hours flowed as a stream of prepared and impromptu comments and unforgettable performances. In the segment dedicated to Stoneman, some of Pop's favorite tunes were given loving interpretations.

Old Crow Medicine Show began with a stylistically authentic rendition of "Tell Mother I Will Meet Her." Cowboy Jack Clement joined the Medallion All-Star Band featuring Eddie Bayers, Paul Franklin, Tania Hancheroff, Wes Hightower, John Hobbs, Brent Mason, Michael Rhodes, Deanie Richardson and Biff Watson in a foot-tapping version of "Blue Ridge Mountain Blues" that inspired Roni to enthusiastically conduct and, on the last chorus, leap to her feet and clap along to the beat.

Joining with The Jordanaires, Jim Lauderdale recalled watching "Those Stonemans," the television series that The Stoneman Family had hosted in the mid '60s. "I just couldn't take my eyes off of these beautiful women that were playing so masterfully," he said, as Pop's daughters beamed back at him. "And there was such a dignified gentleman onstage, your dad. . He just looked like the happiest man in the world, and I know how proud he was of y'all and how joyful he felt to be able to hear you play and to make music with you, his children."

As breathtaking as their performance was of "Are You Washed in the Blood," the emotional peak came when the Stoneman sisters took to the stage - Donna on mandolin, Patsy on autoharp and Roni on banjo - with Clement and bassist Stu Geisbert. Assisted by Gill to her seat, Patsy, the eldest of the three, held the spotlight, with the vigor of her playing on autoharp and the feisty spirit of her speech. "I guess you can see that I need help getting around," she began. "But I want to tell you something: You don't grow old because you play music. You grow old because you stop playing music. And I ain't gonna quit!"

Their reading of their father's immortal song "The Titanic" triggered a long ovation. The music was equally moving as other artists extolled Harris for her induction into the category for "Career Achieving National Prominence Between 1975 and the Present." It began with a stunning version of The Everly Brothers classic "Love Hurts," later recorded by Harris, in which Patty Griffin harmonized with Buddy Miller. (In the audience, as the last chord rang through the deep tremolo of Miller's electric guitar, Marty Stuart laughed with delight, exclaimed "what a song!" and reached over to shake the hand of Phil Everly.)
 
Guy Clark, with a vocal timbre as scuffed and comfortable as his shoes, performed "Bang the Drum Slowly," which he had written with Harris in memory of her father. ("I must confess, I don't think I wrote any of it," he said. "I sat there and listened to Emmy come up with these lines and verses, and I was like 'Yes! Yes!' I was the cheerleader for this song.")

Lucinda Williams, her voice a weathered and eloquent vessel, sang "Boulder to Birmingham," her eyes closed, swaying gently in communion to the music.

And when Griffin, Gill, Miller, Sam Bush and Jon Randall joined their voices on "Green Pastures," the sound wafted through the room like love borne on a gentle breeze.

All of which prefaced the moments of induction, the first when Frances Preston, former President/CEO of BMI, presented the Medallion to Patsy on her father's behalf. Deeply affected, her voice quivering, Patsy whispered, "I didn't think I'd ever get to wear that." Not missing a beat, her sister Roni added, with a laugh, "It's my turn now!"

Later, after thanking Harris for "introducing new generations of fans to Louvin Brothers music" on her early albums, Charlie Louvin brought her forward to receive her Medallion. While admitting to not having "the good sense to appreciate" Country Music as a teenager, Harris credited the Johnny Cash album Bitter Tears and the late Gram Parsons for enlightening her on its power and beauty. But the moment that stirred the greatest laughter and applause came when, on impulse, she smiled toward the front row and proclaimed, "Patsy Stoneman, you are the bomb!"

From the roots represented by Stoneman to the innovations introduced through the work of Harris, the circle once again closed, unbroken, as the assembled Hall of Fame members took to the stage. Everly and Ralph Emery, their arms around each other's shoulders, Little Jimmy Dickens snapping his finger and smiling, Gill clapping his hands over his head in the back row, and Jim Foglesong, Louvin, Preston, Earl Scruggs, Jo Walker-Meador and The Jordanaires' Louis Nunley, Gordon Stoker, Ray Walker and Curtis Young all joined in singing "Will the Circle Be Unbroken," knowing that like the music it evokes, it will surely endure.

The event was taped for future broadcast by the Great American Country (GAC) cable network and WSM-AM 650.

   

Images for above article.

 

 

 

 
CMA CEO Tammy Genovese congratulates Hall of Fame inductee Emmylou Harris.
Photo: John Russell / CMA

 

Patsy Stoneman Murphy accepts her father, V. "Pop" Stoneman's medallion.
Photo: John Russell / CMA

 

Sam Bush, Vince Gill, Jon Randall, Patty Griffin and Buddy Miller perform a tribute to Emmylou Harris.
Photo: John Russell / CMA

 

Country Music Hall of Fame members perform "Will the Circle Be Unbroken" at the end of the ceremony.
Photo: John Russell / CMA

 

 

 

Issue Date: 5/20/2008  
CMA 50th Anniversary: The Second Decade
By Deborah Evans Price

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

During its first decade, CMA emerged as a vital tool for expanding the sound and business of Country Music. This process accelerated to the point that the next 10 years, from 1969 to 1978, became a remarkably productive decade for CMA, beginning that first year when the CMA Awards was broadcast live on national television for the first time.

"We had great ratings in the '70s," recalled former CMA Executive Director Jo Walker-Meador. "There weren't as many cable channels and other things to distract people. Kraft Foods was the sole sponsor for the first 20 years, and we got to know all the people there, from the President of Kraft on down. It was just wonderful."

The CMA Awards wasn't the only television exposure afforded to Country artists during the '60s and '70s. Glen Campbell, Johnny Cash, Flatt & Scruggs, Dolly Parton, Jerry Reed and Porter Wagoner were among the artists who hosted their own series - and then, of course, there was "Hee Haw."

"Those shows were very important because there's nothing like network television exposure to get things known and it gave a lot of artists an opportunity to perform," said Walker-Meador. "Glen Campbell's show ["The Glen Campbell Goodtime Hour"] came on as a summer replacement for 'The Smothers Brothers Comedy Hour' and of course it turned out to be such a popular show. And 'The Jimmy Dean Show' was also important in bringing Country Music to a wider audience; CMA was proud to play a role in persuading ABC to keep it on the air. It was very important in getting the artists known and growing the interest in Country Music. A lot of people kind of turned their noses up at 'Hee Haw,' but I thought that was a wonderful show and that it did a lot of good for Country Music."

Specifically, those early programs proved invaluable in reflecting the essence of real Country Music to the American public, according to E.W. "Bud" Wendell, member of the Country Music Hall of Fame, former General Manager of The Grand Ole Opry and former President/CEO of Gaylord Entertainment. "People like Glen Campbell and Johnny Cash were so dynamic and offered such great exposure for artists that it gave a whole new meaning to the industry than it had before," Wendell observed.

Nothing, though, brought Country Music closer to its audience than Fan Fair, which enjoyed its first run April 12-15, 1972. The event was created to give fans a chance to interact with their favorite artists and also to define the Country Music Disc Jockey Association convention, held each fall, specifically as an industry event. "The incentive for Fan Fair was to get the fans out of the fall convention," said Walker-Meador. "Fans were coming, and the artists couldn't tell whether they were talking to a fan or a disc jockey. We got some complaints about that, so we wanted to do something special for the fans."

The first Fan Fair was held in April, but the CMA Board of Directors decided to move the event to June the following year, when kids would be out of school and parents could bring the entire family to Nashville for the festivities. Five thousand fans attended the first event and by 1979, attendance had grown to 14,000. During the event's early years, Wendell was involved heavily in promoting it. "I went around the country to all the major all-night disc jockeys, like Bill Mack [then on WBAP-AM in Fort Worth] and Charlie Douglas [on WWL-AM in New Orleans], and spent the night to promote Fan Fair. They all were just so helpful."

As Fan Fair grew, so did the challenges that came with it. Not the least of these involved making sure the huge crowds could be fed at the event. "We found a caterer out of Odessa, Texas, that one of the DJs told me about," Wendell said. "It was a promotion of the Odessa Chamber of Commerce called the Odessa Chuck Wagon Gang. I went down to Texas to watch them feed about 15,000 people and decided real quick that's what we needed because at that time Nashville didn't have a caterer who could feed that kind of crowd. So every year this group would come in, very colorfully dressed, and they would provide the food service. It was a great relationship, and they did a wonderful, wonderful job."

CMA membership grew from 2,000 to 5,000 during this 10-year period. "I joined while I was still in New York," said Country Music Hall of Fame member Jim Foglesong, former President, Capitol Records Nashville, and currently Director, Music Business, at Trevecca Nazarene University in Nashville. "Jo Walker-Meador just took it on herself to call a lot of people in New York. I'll never forget her saying 'Jim,' as if we'd known each other for all our lives, even though I'd never met her. She said, 'Jim, I sure would like to have you at CMA. It's only $5 a year to join.' I was already a member when I moved here."

Walker-Meador was tireless in her efforts to recruit new members and attract press for Country Music - even in the sports pages. "CMA sponsored a golf tournament for 11 years," she remembered. "It started in the late '60s. The reason we did the golf tournament was to get information about Country Music onto sports pages around the country. It was called the Music City Pro Celebrity Golf Tournament."

As the popularity of Country Music grew throughout the United States, CMA aimed to raise its profile abroad. The CMA Board made this goal clear by meeting in Canada, Mexico City, Puerto Rico, Tokyo and the United Kingdom, while also assisting Country artists from overseas make their ways to Nashville to perform at the DJ convention. "We had a very small budget to help on their international travel," Walker-Meador said. "And sometimes I would have to go to Memphis to help artists from countries behind the Iron Curtain do something about their visas."

Audiences proved eager to embrace Country Music abroad. "[British promoter] Mervyn Conn started the Wembley Festival for Country Music fans," said Foglesong. "A lot of our acts went over there and performed. There are an awful lot of Country Music fans in Scandinavian countries and other countries around Europe, not just in England, Scotland and Ireland. We had artists like Don Williams, who became one of the biggest starts in the United Kingdom and eventually around the world."

CMA also committed itself at this time to combating music piracy. By joining forces with the National Association of Recording Merchandisers (NARM) and the Recording Industry Association of America (RIAA) to lobby against unauthorized duplication and sale of recorded music, CMA helped facilitate passage of the Federal Copyright Act of 1972. "There was no law to protect the recordings made prior to 1972," said Walker-Meador. "We divided up the states - CMA had 15 states, and it took two years to get the law passed in all the states."

Walker-Meador recalled getting requests by phone for her help in sending artists to call and lobby on behalf of the legislation. "Sometimes I'd get a call, saying 'You've got to get Chet Atkins or some artist to call Senator So-and-So and tell him how important this is to their livelihood to get this deal passed. So we worked on that for two years - and I started smoking again," she said, reflecting that stressful time in the industry's history.

The '70s were indeed a decade of tremendous activity for the Country Music community. And 1972 marked the opening of the Opryland USA theme park. In 1974, the Grand Ole Opry moved to its new home in Opryland. By 1976, attendance at Fan Fair had grown to 12,600. Johnny Cash and Roy Clark co-hosted "The 10th Annual CMA Awards", which expanded to 90 minutes and moved to the Grand Ole Opry House. And in 1977, the newly remodeled and expanded Country Music Hall of Fame and Museum opened to the public, with Elvis Presley's gold Cadillac among its new exhibits.

As CMA celebrated its 20th anniversary in 1978, Billboard honored the organization with the Billboard Trendsetter Award for "expanding Country Music around the world." SESAC also saluted CMA with the Paul Heinecke Citation of Merit Award, named after the performing rights organization's founder.

For the first time that year, the CMA Awards were simulcast on radio stations across the United States. Fan Fair drew 13,500 attendees as well, and CMA enrolled its 5,000th member.

Equally important, CMA at 20 had developed a reputation not only as an advocate for Country Music but also as a legislative force dedicated to protecting the intellectual property of its members. "The industry really said, 'Hey, these people are getting it done,'" Foglesong recalled. "We got the respect we deserved."

On the Web: www.CMAworld.com

   

Images for above article.

 

 

 

 
CMA 50th Anniversary logo
Photo: Courtesy of CMA

 

Tammy Wynette and George Jones make a rare joint appearance at 1974's Fan Fair.
Photo: Courtesy of CMA

 

Jo Walker-Meador and CMA Board members meet in Tokyo, Japan in 1974.
Photo: Courtesy of CMA

 

The winners of the 1976 CMA Awards: Ronnie Milsap, Larry Weiss, Hargus "Pig" Robbins, Mel Tillis, Kitty Wells (Hall of Fame inductee), Willie Nelson, Dolly Parton, Buck Trent, and Don Reid, Harold Reid , Phil Balsley and Lew DeWitt of The Statler Brothers.
Photo: Courtesy of CMA

 

CMA Sound Healthcare Offers Members Savings
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

Implemented in September 2007, CMA Sound Healthcare continues to offer comprehensive health insurance for all domestic individual CMA members, often well below rates available elsewhere to self-employed individuals as well as those employed by CMA member organizations.

"Overall, the average reduction in premiums when moving a CMA member and family from a standard 'Brand X' policy to one of ours through CMA Sound Healthcare has been approximately 30 percent," said R.J. Stillwell, Regional Director, National Business Association. "Of equal importance, we've had great success in expanding benefits, thus increasing protection and reducing potential out-of-pocket [costs]."

For example, according to Stillwell, health insurance policies will often pay for the services of only one surgeon and assistant surgeon. In the event of more than one surgical procedure being conducted simultaneously, many standard policies will pay only for up to half of the benefits of the additional surgeries. Further, limitations are imposed frequently for out-patient therapies, such as capping physical therapy to 40 visits per year, speech therapy to 30 visits and cardiac rehabilitative services to 36. And several popular policies on the market contain unlimited out-of-pocket maximums when using an out-of-network provider.

In contrast, the most popular single or family plan offered by CMA Sound Healthcare will provide benefits for more than one surgeon, assistant surgeon and simultaneous surgical procedures, along with an additional $200,000 in out-patient therapy benefits following release from a hospital. Further, a stop-loss provision comes into play for out-of-network claims - and when treated at a Vanderbilt Hospital facility, a 90/10 co-pay, as opposed to the industry norm of 80/20.

To illustrate, Stillwell offered examples of savings for actual participants in the CMA Sound Healthcare program:

Subject: producer/engineer, male, 57.
Previous Insurance Premium: $560/month.
CMA Sound Healthcare Premium: $432.
Annual Savings: $1,536.

Subject: artist manager, female, 47.
Previous Insurance Premium: $327/month.
CMA Sound Healthcare Premium: $233/month.
Annual Savings: $ 1,128.

Subject: TV producers, male, 37, and
female, 39, with two children.
Previous Insurance Premium: $587.
CMA Sound Healthcare Premium: $401.
Annual Savings: $ 2,232.

And, in an especially dramatic example of  savings earned through CMA Sound Healthcare:
Subject: songwriter/publisher, male, 58, and female, 56.
Previous Insurance Premium: $1,660/month, with $7,500 out-of-pocket each.
CMA Sound Healthcare Premium: $806/month, with out-of-pocket costs reduced by 2/3.
Annual Savings: $10,328.

Extensive savings are also available via CMA Sound Healthcare through true-group plans tailored to companies with three or more employees.

CMA members are encouraged to learn more about what CMA Sound Healthcare can offer by visiting www.My.CMAworld.com and clicking on the
CMA Sound Healthcare link.

Not a CMA Member? Visit www.CMAworld.com/membership, e-mail Membership@CMAworld.com or call 1-800-788-2045 to apply for CMA membership.

 

 

Issue Date: 5/13/2008  
Online Social Networks Facilitate Music Sales
By Bobby Reed

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

Social networking Web sites, devoted to hosting interactions among members, were once like metaphorical lakes, each stocked with similar fish. Today, these sites have become virtual oceans, filled with millions of species, small recreational boats and massive supertankers.

The popularity of these sites has increased so quickly and dramatically that it's impossible to say exactly how many total users they draw. The numbers are bigger than many people would suspect, though, and they grow every day.

According to a report published in June 2007 by Forrester Research, the two most popular social networking sites - www.MySpace.com and www.Facebook.com - have more than 63 million U.S. visitors each month. A report that aired in 2008 on PBS' "Frontline" stated that the number of members for the two sites combined has reached a staggering 160 million.

With numbers like these, it follows that many commercial entities consider it essential to maintain a presence on these sites and others. The lesson has certainly not escaped the Country Music industry, as suggested by the Top 15 acts on the Billboard Hot Country Songs chart for Feb. 2, 2008 - each of whom has a MySpace page.

"Two key things about Country Music are the relatability of the artist and access to the artist," said Heather McBee, VP, Digital Business, Sony BMG Nashville. "That's the great thing about social networking sites: They give fans the opportunity to connect and interact with the artist."

Certainly that's true for Kenny Chesney, whose fans have streamed more than 25 million song plays on his MySpace page and Taylor Swift, whose MySpace streams have topped 40 million. And while their numbers may be smaller, this online connection is even more important to artists who haven't yet started selling out stadium shows. A case in point is Chuck Wicks, who scored a major hit with "Stealing Cinderella," from his debut album on RCA Records, Starting Now.

"What we're doing with the social networking sites is giving fans a chance to experience more of Chuck as an artist," said McBee. "People who go to his MySpace page can learn more about him, hear his music, see interviews, read his blog and experience a behind-the-scenes look at the making of a music video. Chuck has been very involved with what goes on at his site. He invests in communicating with his fans."

Artists' pages on MySpace are increasingly offering various ways to purchase music. Some artists provide links to iTunes or to their own online store. Others offer downloads for sale. The company Snocap, launched in 2002 by Napster founder Shawn Fanning and his partners, facilitates such transactions by adding a "store" onto the artist's MySpace page, with earnings divided according to arrangements made between the artists, their label and Snocap. Among the artists who have gone this route are Clint Black, Little Big Town, Gillian Welch and Chris Cagle, who sells downloads of entire albums at his MySpace page.

Also in the game is www.imeem.com, a San Francisco-based networking site that boasts more than 20 million unique users each month. More important, as far as the music industry is concerned, imeem has transformed the online landscape by negotiating licensing deals with all four major record label groups (EMI Music Group, Sony BMG Music Entertainment, Universal Music Group and Warner Music Group) as well as thousands of independent labels. These arrangements allow imeem to offer free, on-demand streaming of the label's entire music and video catalogs, in exchange for which music companies receive a share of imeem's advertising revenue.

Beyond providing a central location where users can listen to entire songs and watch videos, imeem also facilitates online sales. If a user wants to download a track, imeem provides links to Amazon and iTunes, where the track can be purchased.

Universal Music Group inked its deal with imeem in December 2007. "imeem has developed an innovative way to make our artists' music a central park of the social networking experience," explained Doug Morris, Chairman/CEO, UMG. "More importantly, they've done so the right way, by working with UMG to provide an exciting musical experience for consumers, while ensuring that our artists are compensated fairly for use of their works."

Like most social networking sites, imeem is free to join and highly interactive, with users being able to upload songs and videos, create custom playlists and share photos and blogs.

In January, imeem announced a partnership with MTV Networks to offer video clips and episodes. This allows imeem users to view and share clips from CMT, MTV, VH1, Nickelodeon, Comedy Central and more.

The site has featured artists in unique online events, including exclusive listening parties and recorded introductions to imeem playlists. Faith Hill, Blake Shelton and The Wreckers are among the acts who have participated thus far.

Executives at imeem feel they've devised a system where everyone involved - the artist, the label, the advertiser and the consumer - is a winner.

"The ad-supported model is a totally new business model and revenue stream for the music industry," said Steve Jang, Chief Marketing Officer and Head of Business Development, imeem. "In essence, we're harnessing the user's attention. It's the overall experience on imeem that we're monetizing. We created a revenue-sharing model where we share roughly half of our advertising revenue with the content owners. Labels and artists promote themselves in a colorful way on imeem. Advertisers come to create brand awareness and real engagement with our users. Then the advertising revenue is split with the content owners. The idea is, 'Hey, let's work together and I'll share with you what I make.' That's a fundamental human concept. People just get that."

The imeem advertising revenue-sharing program is available to a variety of content owners - unknown songwriters as well as major companies. The number of streamed plays is tracked, so that payments are made in proportion to a song's popularity.

The imeem experience also helps deter unauthorized downloads of digital music files. "Piracy flourishes when it's easier than the alternative that the industry is offering," said James McQuivey, a media and technology analyst at Forrester Research, who studies the music industry. "And imeem is now offering an incredibly easy alternative. They compete successfully with piracy. Not only is [the imeem site] easy to use and satisfying, but it appeals particularly to the exact age demographic that is so fond of piracy."

Although the gap is shrinking, a significant difference remains between the use of social networking sites by younger (Generation Y) consumers and baby boomers. According to Forrester Research, 80 percent of young adults (ages 18-21) in the United States use these sites, compared to only 30 percent of adults ages 18 and older. Among youthful users (ages 12-21) who visit social networking sites daily, more than 40 percent said that they listened to music the last time they visited such a site; about 25 percent said that they watched a video.

People in general are devoting more and more of their free time to Internet activities. As a result, ad revenues for the Web are predicted to skyrocket. A study by the Internet market researcher www.eMarketer.com predicts that worldwide spending on social network advertising will reach $2.9 billion in 2009, up from $1.2 billion in 2007.

"About $70 billion is spent on television advertising in the U.S. every year, compared to about $24 billion that people spend on DVDs every year," McQuivey noted. "So in television, advertisers spend nearly three times what consumers do to buy their own videos. When it comes to Internet-delivered content, there's going to be a similar ratio, meaning that advertisers will spend more money to reach people through music experiences like imeem or Internet radio than there will be by people buying their own music directly online."

Sony BMG's McGee, whose professional Web experience dates back to 1996, knows how important it is to adapt. "The challenging balance is to try to stay ahead of the users while following them at the same time," she said. "We're trying to be in the right place at the right time."

   

 

NEW ARTIST SPOTLIGHT: Phil Stacey
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

It was a tough climb, not a fast track, that Phil Stacey followed on the way to his place among the Top 6 "American Idol" finalists in 2007. Diverging paths confronted him; by following his conscience and sense of responsibility, he sometimes took the tougher road - but those decisions invariably strengthened him along the way.

His ascent began on rock-solid ground, as the son of a pastor. Moving from one congregation to the next, through Kentucky, Ohio and Kansas, Rev. Stacey encouraged his children to embrace music along with faith as sources of stability and assurance in their mobile lives. As a result, Phil joined with his brother and sister to form The Stacey Trio, whose victory in a statewide talent contest led to his first crossroads.

Electing to stay in high school rather than drop out to perform full-time, he would soon make other, equally correct choices: to decide on the night he met his future wife that they were fated to be together; to perform with the Lee Singers while earning a degree at Lee University in Cleveland, Tenn.; to enlist in the Navy after September 11th and become part of the Navy Band Southeast; and to fulfill military obligations rather than attend a friend's wedding as best man - and then to accept that friend's challenge to atone by auditioning for "American Idol."

Taking note of his technically assured and emotionally inspiring style, Lyric Street Records signed Stacey and introduced him to producer Wayne Kirkpatrick. The fruit of their collaboration, Stacey's self-titled debut, featuring the first single, "If You Didn't Love Me," written by Gary LeVox of Rascal Flatts, Wendell Mobley and Jason Sellers, heralding a presence as powerful on disc as it was during Stacey's "Idol" run on screen.

IN HIS OWN WORDS

MUSICAL HERO "Rich Mullins."

INFLUENCES "Garth Brooks, Tim McGraw and George Strait."

CD IN YOUR STEREO "Little Big Town's A Place to Land. I'm working with their producer, Wayne Kirkpatrick, and he's such a master at that elemental, organic sound."

DREAM DUET PARTNER "I'd love to record a duet with Carrie Underwood."

BOOK ON YOUR NIGHTSTAND "The Bible."

FAVORITE MODE OF TRANSPORTATION "Forget planes, trains and automobiles. I'd rather walk."

HOMETOWN "Jacksonville, Fla."

On the Web: www.philstacey.com

   

Images for above article.

 
     
Phil Stacey; Lyric Street Records; photo: Chapman Baehler
Photo: See Caption

 

 

 

Charlie Daniels Living 50 Years, Moment by Moment
By Deborah Evans Price

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

Charlie Daniels has earned numerous accolades, including a trophy case full of CMA, Grammy and Dove Awards. But one honor eluded the veteran singer, songwriter, musician and entertainer until Jan. 19, when Daniels became a member of the Grand Ole Opry.

"To see a dream of almost 60 years come true, especially at this time in life when I'm 71 years old, it's pretty doggone amazing," Daniels said. "It all boils down to God giving me the desires of my heart. It's a blessing."

The Opry induction was a sweet way for Daniels to kick off 2008, his 50th anniversary in music. Throughout his career, Daniels has covered a lot of territory, from his early days in rock to his long tenure on the Country charts to his forays into gospel music. He has released 50 albums, 17 of them on his own Blue Hat Records label. And after launching that imprint with manager David Corlew in 1997, Daniels became the first artist to sign an exclusive distribution deal with Wal-Mart.

For the past seven years, Koch Records has marketed and distributed Blue Hat. "They do everything they say they are going to do, and when they come to us with a release schedule, whether it's two albums a year or three, whatever it may be, they produce like clockwork," said Bob Frank, President, Koch Records. "Charlie has a very, very loyal fan base, and we all enjoy working together. In fact, we forget sometimes that we aren't all part of the same company, because we work so closely together."

Having his own label has afforded Daniels the freedom to indulge his passion for all types of music. He grew up listening to Country and bluegrass, but he also co-wrote "It Hurts Me," which Elvis Presley recorded, played on Bob Dylan's Nashville Skyline, New Morning and Self Portrait and produced two albums for the Youngbloods before forming the Charlie Daniels Band in 1970.

His discography spans a vast field of music, from the blues of Blues Hat (1997) to the bluegrass gospel of Songs from the Longleaf Pines (2005) and the rockin' Country represented on two albums from 2007, Live from Iraq and Deuces. The latter CD pairs Daniels with Brooks & Dunn, Vince Gill, Brenda Lee, The Del McCoury Band, Dolly Parton, Darius Rucker and Gretchen Wilson, among other guest artists.

"Charlie is a wonderful example of a great humanitarian as well as an entertainer," said Troy Gentry of Montgomery Gentry, who joined with his partner Eddie Montgomery and Daniels on Deuces for a new version of "Drinkin' My Baby Goodbye." "His love for his family and patriotism for his country are immeasurable, and his relationships on and off the stage are equally important to him. All of this together makes a man that I greatly respect and admire, someone I strive to emulate in both my professional and private life. There is no other like him."

Many others share that sentiment. "When I got the call from Charlie to be a part of Deuces, I was ecstatic because I am a fan of Charlie - not just his music but of him as a person," said Brad Paisley, whose instrumental pairing with Daniels, "Jammin' for Stevie," honors the late Stevie Ray Vaughan. "I try to pattern myself after him in some ways. He comes at his career from a totally musical standpoint, always wanting to just play music. It doesn't matter the genre or how many people are in a room - he just wants to play. He's a true artist and a living legend."

Daniels takes part in another interesting collaboration on How Great Thou Art: Gospel Favorites Live from the Grand Ole Opry. On "I'll Fly Away," he teams with Mac Powell, frontman for the Christian band Third Day, on a rousing duet that opens this recent compilation. "Country Music and gospel music go hand in hand and they always have," Daniels said. "I don't think there's anything new at all about it. It's an old idea that's being revived, and I hope the trend continues because I love the old songs."

For his next recording, Daniels will return to an album he had begun with his band before doing Deuces. "I wanted to do some stuff that's a little off the beaten path," he said. "I'm in no hurry for it, because we probably won't be releasing another album this year. It's an album that documents our combined personalities and the individual musicianship" of the band members.

Aside from making music, Daniels devotes ample time to humanitarian efforts, including his annual Christmas for Kids concert in Nashville and performances for troops at more than 20 U.S. military installations around the world. Though he always sets aside the first part of the year to vacation with his wife Hazel in Colorado, his varied activities fill most of the rest of his yearly calendar, which is exactly what he wants. Indeed, Daniels admits that he never could have imagined 50 years ago just how far his music would take him.

"People ask me what would I have done if I had not been a musician," he said. "Well, I'm not a 'what if?' thinker. It's been a long road and a good road and a tough road. I've learned a lot of lessons in the many years that I've been doing this that I wouldn't have learned anywhere else."

What advice does Daniels have for young artists who would hope to follow his example? "Sometimes we tend to get caught up in the business," he mused. "The one thing you always have to remember is the people who are sitting out front. Whether there are two or 10,000, the people make you what you are. They make your dream come true. You should never walk by a fan. If you've got to catch a plane or something, smile and say, 'I'm so sorry. I do not have time to stop.' But most of the time, you can take time. Be nice to fans. Be nice to people. Treat people the way you want to be treated.

"So take care of today, take care of tomorrow when it gets here and don't look back," he continued. "Keep looking forward. And never belittle a situation. When you walk onstage or into a recording studio, when you do an interview or do anything with your professional life, you have to remember that this is the moment you are living right now. This is the moment, and I've got to give it everything I've got. I've got to be able to keep my head in the game. I've got to do the very best I can in this moment, and the next moment will take care of itself. Put the best you have in that particular moment. Just take it moment by moment, day by day. Tomorrow is going to take care of itself, if you take care of today. If you don't take care of today, tomorrow is going to be a mess."

On the Web: www.charliedaniels.com

   

Images for above article.

 

 

 

 
Photo: Jim Shea
Photo: See Caption

 

Charlie Daniels on stage, circ. 1975. Photo: Courtesy of CDB, Inc.
Photo: See Caption

 

Photo: Cheryl M. Stewart
Photo: See Caption

 

Charlie Daniels on stage, circ. 1975. Photo: Courtesy of CDB, Inc.
Photo: See Caption

 

New Artist Spotlight: One Flew South
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

Each member in Nashville-based One Flew South has shaped his voice into a clarion instrument, capable of seamless blends and show-stopping solos. Royal Reed nurtured his in Los Angeles, gigging six nights a week with Country bands and singing session dates by day. Meanwhile, Chris Roberts pursued twin paths in New York, as a singer/ songwriter and in Broadway shows. They met as cast members of the Broadway musical, "The Civil War," after which they got to know Eddie Bush, whose solo career was already underway.

With this background, it's no surprise that Last of the Good Guys merits high marks. The title track, written by album producer Marcus Hummon, combines velvety but sturdy vocal pads reminiscent of the Eagles, then adds a quick lick in octaves that conjures R&B. Members of the band penned seven of the albums' 12 tracks with Hummon, J D Souther and other estimable writers whose involvement testifies to the respect One Flew South has already earned.

Instrumentally, Last of the Good Guys on Decca Records sprinkles tasty bits of banjo, mandolin and other flavorings into a base of shimmering or soaring electric guitars, pop/rock rhythm and on "Let the Day Carry You" and "Too Old to Die Young," a rustle of bowed strings. The result is a sonic feast whose appeal transcends demographic lines. From the chorus that swirls through "Junkie" to the bare backup and luscious, perfectly intoned singing of "It Is Good," with a sound that carries the listener from a loose back-porch jam to the heat of an arena spotlight, Last of the Good Guys is, one hopes, the first of a great catalog from this talented trio.

IN THEIR OWN WORDS

BAND'S MUSICAL HERO
"The Beatles."

SONG WISH TO COVER
"'Wichita Lineman.'"

DREAM DUET PARTNER
"Alison Krauss."

ACTOR TO PORTRAY YOU IN BIOPIC
CHRIS: "Jude Law."
EDDIE: "Viggo Mortensen."
ROYAL: "Johnny Depp, without hair."

MOMENT IN LIFE TO RELIVE
"The first time we ever sang together as a group. It was magical."

LUCKY CHARM
"Marcus Hummon - every time he hangs with us, something great happens."

On the Web: www.oneflewsouth.com

   

Images for above article.

 

 
   
photo: David McClister
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photo: David McClister
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Issue Date: 4/29/2008  
Phil Vassar Tempers Passion with Experience
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service; Country Music Association®, Inc.

Phil Vassar doesn't act like a star. Sure, nine songs that bear his credit as a writer have topped the Country charts. As a performer as well as writer, he lofted his first single, "Just Another Day in Paradise," to No. 1 in 2000 - a few weeks before Tim McGraw took its place at the top with another Vassar-penned song, "My Next Thirty Years." ASCAP has named him Songwriter of the Year twice. Billboard has hailed him as Top New Country Artist and Country Songwriter of the Year.

All that is true, but whether seen from a seat in an arena he's sold out on his recent "acoustic tour" or up close in conversation, Vassar comes across like an old college roommate, the friendly bartender who remembers your drink as you walk through the door, or one of the guys you call for a pickup baseball game when the weather warms up.

These are all roles that he has played or continues to play, though they have to now fit into his schedule as a world-class performer, an expressive singer, one of the best songwriters in the business and the hottest piano player in the Country Music spotlight. Still, it's the Regular Guy who opened the door to his rambling home and led the way past original artworks and handsome furnishings toward a seat near his Yamaha grand and the picture windows that overlook the play area he built for his daughters, Haley, 9, and Presley, 4.

When complimented on his digs, he laughed disarmingly. "Actually," he added, "I keep wondering when the real owner will come back and kick me out."

The Virginia native has come a long way since arriving in Nashville 21 years ago, with a degree from James Madison University in Harrisonburg, Va., a few songs to sell and a determination to succeed. Within eight years he had saved enough to buy the restaurant that had booked him as its entertainment. A customer there took one of Vassar's demos to play for his father, the velvet-voiced crooner Engelbert Humperdinck, who cut one of those early songs, "Once in a While," for his 1996 release, After Dark.

Music Row took note. Signed to EMI Music Publishing, Vassar wrote hits for Alan Jackson ("Right on the Money"), Jo Dee Messina ("Bye Bye," "I'm Alright"), Collin Raye ("Little Red Rodeo") and others. In 2000 he emerged as an artist in his own right, issuing three studio albums and one greatest hits package on the Arista Nashville imprint before transferring to Universal Records South, who on April 22 will release Prayer of a Common Man.

From the politically charged "This is My Life" to "Love is a Beautiful Thing," which transforms the familiarities of marriage into something close to poetry, each track on this album confirms Vassar's mastery of Country Music, especially its sometimes tricky mix of musical sophistication and down-home credibility. "Three and a half years have passed since my last studio record," he explained. "That's a lot of water under the bridge. As you evolve as a human being, it changes your writing style. It changes what's important to you and what you want to write about. I really like where it's going, and I love where I'm going as a writer."

"This Is My Life" is a good indicator of where Vassar feels he's headed. "It's real life," he insisted. "When I didn't have kids or a care in the world, a lot of this stuff went right past me. It was more important to hang out with my friends, have fun with girls and stuff like that. But then you send your kids off to school, and you see [the massacres at] Columbine and Virginia Tech, and that sticks in your head. The world is a little shaky now, and that's going to come through in an artist's writing."

Vassar's recent work doesn't just echo what's in the news. His perspective has widened, taking him away from lighter romantic themes toward subtler insights into life. "I've experienced a lot of things, especially in the past few years," he explained. "I try to get them off my chest when I write. But I love the curveballs that get thrown at you all the time. They keep me on my toes. They're real. What isn't real now would be to write about going to a dance club or something like that; I wouldn't know where to start."

One good place might be "Baby Rocks," which proves that Vassar can in fact still pump plenty of dance-floor testosterone into his words, hooks and grooves. But this song, and his infectious romp with Los Lonely Boys through "Why Don't Ya," share space on Prayer of a Common Man with perspectives formed more from experience than youthful exuberance: nostalgia ("My Chevrolet"), the loss and rediscovery of passion ("Around Here Somewhere"), the despair and determination that come from facing daily challenges ("Prayer of a Common Man") and the realization that when you add it all up, all you can do is laugh it off and enjoy the ride ("The World is a Mess") and then embrace it, warts and all ("Crazy Life").

"Something I thought about when I was in the process of making this record was a conversation that Bob Dylan had with John Lennon," Vassar said. " He said, 'Man, you guys are on this platform! You need to say something in your songs!' And then Rubber Soul came out. That conversation changed them - it changed me. I kept thinking about how it's great to have hits and write songs that are fluffy. But you've got to really dig deep, get real and write about something. That's what I felt I needed to do with this album."

On the Web: www.philvassar.com

   

Images for above article.

 

 

 

 
Phil Vassar; "Prayer of a Common Man;" Universal Records South
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Phil Vassar; Universal Records South; photo: Jim Wright
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Phil Vassar; Universal Records South; photo: Jim Wright
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Phil Vassar; Universal Records South; photo: Rob Shanahan
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NEW ARTIST SPOTLIGHT: Zane Lewis
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service; Country Music Association®, Inc.

Texas roots feed the wide-open textures, swaggering beat and rugged baritone vocals of Zane Lewis' self-titled, nationally-released debut album. Though it sounds like he was born with a rowdy song in his heart, he didn't strum his first chord until he got to Texas Tech in Lubbock, while earning an advertising degree on a diet of "Blue Spoon" margaritas and Dr Peppers and singing the best of Garth Brooks, Merle Haggard and George Strait whenever he hit the shower.

Lewis narrowly dodged a career in journalism, going so far as to join with a partner in launching Western & English Today, a magazine for equestrians. Luckily for lovers of raw-boned rockin' Country, after having his first taste of performing in 2000, at the Garland Opry in Texas, he shut down his laptop, tuned up his guitar, sold the publication and invested his earnings into This Town, which he self-released throughout Texas in 2006. With LeAnn Rimes' road band providing the backup, this album whipped up a Lone Star storm that blew Lewis directly to his deal with Slant Records.

Co-produced by Brett James and Lex Lipsitz, Zane Lewis includes two tunes co-written by Lewis, a hymn to the traveling life ("Fly") and a low-down, fiddle-sawed foot stomper whose title could function as his calling card ("Bad Ass Country Band"). His personality rings loud and clear on every song, which he delivers with a sound that mirrors myriad influences, from Brooks to Lynyrd Skynyrd and all the way back to his father's fiddle playing and beyond, through five generations of Lewis family history in Texas. Lewis achieves an especially appealing blend of bravado and sensitivity on the album's first single, "Come with Me," whose simple invitation to "hang out" promises a world of adventure and romantic possibility

IN HIS OWN WORDS

MUSICAL BACKGROUND OR FIRST START IN MUSIC "My first live performance was at the acclaimed Garland Opry in Garland, Texas, in the summer of 2000. The Texas Opry circuit is a terrific training ground for new singers.  I learned how to feel comfortable with audiences at the Garland Opry, which is where LeAnn Rimes got her start.  I was one of their regular guests, and I hosted on several occasions.  It wasn't until 2003 that I rounded up my first band and hit the Texas bars and dancehalls to promote my first self-produced album, This Town."

MUSICAL HERO "Hands down, Waylon Jennings."

INFLUENCES "I grew up listening to my dad play western swing on his fiddle. But it was his 8-tracks of Waylon and the Eagles that hooked me. Merle Haggard, George Strait, Garth Brooks, Elvis, Charlie Daniels, U2, Van Halen and Lynyrd Skynyrd all influenced me in many ways."

DREAM DUET PARTNER "Merle Haggard."

HOMETOWN "I was born in Lubbock, Texas, raised in Round Rock and now live in Allen."

CD ON YOUR STEREO "Jack Ingram's 'Electric.' A 2002 release, but it still sits in my regular rotation with the new ones. I've been wearing out George Strait's 'It Just Comes Natural,' too."

PET PEEVE "People who can't drive, which is pretty much anyone who's in front of me!"

MODE OF TRANSPORTATION YOU PREFER "Driving when it comes to travel. You see more of the country and it's a great opportunity to free your mind up to think."

SONG YOU WISH YOU'D WRITTEN "'Believe.' The song has incredibly powerful words. I get goose bumps every time I hear the emotion in Ronnie Dunn's vocals."

MOMENT IN YOUR LIFE YOU'D RELIVE IF YOU COULD "The whole enchilada. I've loved every minute of it."

TITLE OF YOUR AUTOBIOGRAPHY "Determined - and Too Ignorant to Know Any Better."

WHAT YOU HOPE PEOPLE SAY, LOOKING BACK ON YOUR LIFE IN 50 YEARS "Encore!"

ACTOR TO PORTRAY YOU IN YOUR BIOPIC   "If it's an ill-fated attempt to project my life as 'cool' it would be Brad Pitt. Otherwise, Will Ferrell's probably the best man for the job. I smell an Oscar!"
 
On the Web: www.zanelewismusic.com

   

 

 

Images for above article.

 
     
Zane Lewis; Slant Records; photo: Steve Thornton
Photo: See Caption

 

Issue Date: 4/22/2008  
Chris Cagle: A Life Mirrored in Music
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

Even a blizzard couldn't keep Chris Cagle fans from filing into the Tennessee Miller Coliseum in Murfreesboro, Tenn., one Friday night in early March. After all, the timing was right: His new album for Capitol Records Nashville, My Life's Been a Country Song, had made a spectacular debut the week before, propelled by 36,600 sales to the top of the Billboard Top Country Albums chart. And as usual with Cagle, the promise of a great performance was in the air.

The "Cagle Heads" in the crowd received two treats - the music, as expected, and prior to that an exhibition from the artist on his American quarter-horse, Playboy Master. While providing commentary from his headset microphone, Cagle delivered a demonstration in the art of reining - fundamentals he had learned as a boy by spending summers on his grandfather's farm in Deridder, La.

"I am a country boy," he admitted, several days after the event. "I tried to get away from it, but it's who I am. And when you got old enough, you finally realized that the country is the best secret in the world. It's a safe haven. It was given to us, perfect in its creation. It's the one place in the world where you can provide a child with better character, fortitude and honor, and more discipline, than the military can. "That's not taking anything away from our military," he added. "But they take you down and build you to what they want. The country will break you down and let you find out who you are."

Whether through horsemanship, humor or music, Cagle makes the point that he's at home wherever he can live, breathe, ride or sing with the spirit of country. That's all he really wanted when he came to Nashville in 1994 and began the new-artist routine of waiting tables and odd-jobbing while seeking his career break. He found it six years later, when Virgin Records released his first album, Play It Loud. Three of its singles made it to the Top 15 on the Billboard Hot Country Songs chart, and one, "I Breathe In, I Breathe Out," climbed to No.1.

After closing its Country division in 2002,Virgin's roster was absorbed by Capitol Records Nashville, the imprint on which Cagle released his self-titled album in 2003 and Anywhere But Here in 2006. On these first three albums, Cagle solidified his reputation as an expressive singer with strong writing chops. Yet when he began focusing on what would become My Life's Been a Country Song, he sensed that he would approach this one with a more singular focus - not because he had stopped writing songs but because the songs he was writing didn't feel right at this point in time.

"My stuff just wasn't good enough," he explained, with a shrug. "When I started writing for this album, I was dealing with the stuff I had avoided dealing with for the last four or five years. And I'm tired of thinking about it. I'm tired of answering questions about it. I damn sure don't want to sing about it."

Producer Scott Hendricks, who had executive-produced Play It Loud, reinforced this position when he and Cagle started planning their strategy." I couldn't believe the amount of research Scott did before we'd recorded note one," Cagle said. "It was ingenious for him to say, 'One of the most important things for us to look at is the weak spots in your career. That way, we can make the weak spots good, the good spots great and the great spots amazing."

They agreed that meant gathering the best possible material, even if no original songs would make the final cut. Hendricks reached this conclusion through a combination of trusting his own ears, tabulating everything from tempos to keys on Cagle's earlier albums, and studying every comment he could find, from critics and fans, in magazines and online, that concerned Cagle's catalog.

"I remember very clearly dreading that conversation, of having to say, 'Chris, you're going to have to change a few things,'" Hendricks said. "When someone is used to a certain method, it's a paradigm shift to get them to look at that objectively. Raising the bar is not easy. To his credit, Chris went along with the process - and consequently I feel like we may have made his best album to date."

Eventually, they whittled thousands of songs down to a track list. Cagle got there by listening to each demo blindly, without knowing the identity of the writers or their publishers, and absorbing the music more as a fan than an artist, often while driving or concentrating on other activities. Only after the entire song played would he scribble next to the title: "P" for "pass," "H" for "hold," or a question mark where he might want to check it out again. The search proved fruitful as well as revealing.

"If you look at the titles, like 'No Love Songs,' 'What Kind of Gone,' 'If It Isn't One Thing' and 'Never Ever Gone,' they're tremendously negative," Cagle observed. "But then you listen to the songs, you hear that 'I Don't Want to Live' is 'I don't want to live without you anymore.' The songs themselves are positive, which seems ironic to me in many ways."

It also felt appropriate to Cagle to tackle songs that had complex layers of meaning, even between their names and their lyrics. Hendricks, sensing that his artist was in a period of creative transition, encouraged the process by challenging him to push the envelope in other areas too, which included working with new personnel, from studio technicians to musicians. The process extended to tweaking the words of one song. "My Heart Move On" was called "My Heart Will Move On" when it came to Cagle as a demo. Its vivid imagery, dramatic minor-key structure and galloping groove appealed strongly to him, yet he felt he couldn't cut it without making a small but significant change.

"In this song, the end is 'like a storm, like a train, like the seasons when they change . it goes off to find another home,'" he said, singing the powerful chorus. But instead of saying 'my heart will move on,' because I've made these definitive statements in the present tense, I just thought, 'You know what? It's like I'm willing my heart now to make this decision to move on. So . my heart move on.'"

"Chris and I talked about this," said Brett James, who co-wrote the tune with Blair Daly. "And I'm totally cool with it. It adds something to the song. It sounds a little bitter to say to an ex-lover, 'My heart will move on.' So I think Chris made it sound a little more positive. He had a good reason to do it and I'm glad he did." 

The paradox of My Life's Been a Country Song is that it contains no original material from Cagle, and yet it reveals much about the artist. The attention he brings to the studio, and his willingness to examine himself and take risks in his work, reflect the discipline he has applied to his life in recent years, from improving his health to examining and changing his personal priorities.

"I'm turning 40 this year, and I don't have kids yet," he mused. "But I want to live long enough to have a child and some grandbabies. Music is a chapter in my life, but it's not the chapter. My livelihood is performing, but my life is not a performance. I want to live to be 85. I'm not going to be sitting in a hospital room when I die, looking at my Gold records on the wall. No, I'm going to be talking to my kids and my woman. When I leave this world, that's what I want as my legacy: three or four amazing children, my namesakes. That's the stuff that matters."

On the Web: www.chriscagle.com

   

Images for above article.

 

 

 

 
Chris Cagle; "My Life's Been a Country Song;" Capitol Records Nashville
Photo: n/a

 

Chris Cagle; Capitol Records Nashville; Photo: Russ Harrington
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Chris Cagle; Capitol Records Nashville; Photo: Russ Harrington
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Chris Cagle; Capitol Records Nashville; Photo: Russ Harrington
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NEW ARTIST SPOTLIGHT: Lady Antebellum
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association®, Inc.

Though Country is the foundation for Lady Antebellum's music, other echoes rise and play above that bedrock. Yet they all fit together in ways that testify to these artists' ability to inspire and complement each other.

Their story begins with the friendship of Dave Haywood and Charles Kelley, who began playing music together as middle-school students in Augusta, Ga. Their paths separated when Kelley started playing drums in his older brother Josh's band, while Haywood pursued a career in accounting. In 2005, he answered Kelley's call to Nashville.

Hillary Scott, meanwhile, was already settled in Music City. The daughter of CMA Award-winning vocalist Linda Davis and musician Lang Scott, she grew up in the music business, performed on "The Linda Davis Family Christmas Show" while in high school and nearly sealed a solo artist deal. In true postmodern fashion, she encountered Kelley's music through his MySpace site, which led all three to connect and begin nurturing their collective talents.

Produced by Victoria Shaw and Paul Worley, Lady Antebellum's eponymous debut album on Capitol Records Nashville ranges from the dramatic power ballad "All We'd Ever Need" to the swagger and strut of "Love's Lookin' Good on You." All but one of the tracks were written by the group together or with other co-writers, and through them all, Scott and Kelley take turns in the solo vocal spotlight when not locking together in polished yet freewheeling harmonies. This combination feels right, sings tight and sounds ready to rock it 'til the morning light.

Q&A:

SONG YOU'D LIKE TO COVER
CHARLES: "'Get Out of My Dreams, Get Into My Car,' by Billy Ocean."
DAVE: "'Jump,' by Van Halen."
HILLARY: "'Hard to Handle,' by The Black Crowes."

SONG YOU SING IN THE SHOWER
HILLARY: "A Dave Barnes song called 'Grace's Amazing Hands.'  He's an amazing singer/songwriter who lives in Nashville."

SONG YOU WISH YOU'D WRITTEN
CHARLES: "'What Hurts the Most' performed by Rascal Flatts and written by Jeffrey Steele and Steve Robson."
DAVE: "'Ants Marching,' by Dave Matthews."

CD IN YOUR STEREO
CHARLES: "Miranda Lambert's Crazy Ex- Girlfriend."
DAVE: "Carrie Underwood's Carnival Ride."
HILLARY: "John Mayer's Continuum."

BOOK ON YOUR NIGHTSTAND
CHARLES: "The entire collection of encyclopedias."
HILLARY: "My journal."

MUSICAL HERO
CHARLES: "Bono."
DAVE: "James Taylor."
HILLARY: "Gladys Knight."

DREAM DUET PARTNER
CHARLES: "Hillary Scott. I'm living my dream."
HILLARY: "Gladys Knight."

PET PEEVE
CHARLES: "Someone who talks just to talk."
DAVE: "People asking me for gum."
HILLARY: "Negativity."

MODE OF TRANSPORTATION YOU PREFER
CHARLES: "Speed walking."
HILLARY: "Planes.

WORD OR PHRASE YOU SAY OVER AND OVER
CHARLES: "Rawesome. It's a combination of radd and awesome."
HILLARY: "Seriously."

ACTOR TO PORTRAY YOU IN YOUR BIOPIC 
HILLARY: "I think Mandy Moore would do a great job."

MOMENT IN YOUR LIFE YOU'D RELIVE IF YOU COULD
CHARLES: "Senior year of college. It was rawesome."
HILLARY: "I don't believe in reliving or regretting anything because those are the things that teach you and make you grow as a person."

TITLE OF YOUR AUTOBIOGRAPHY
CHARLES: "A man who lived rawesomely."
HILLARY: "The Story of the Lady in Lady Antebellum."

WHEN THEY LOOK BACK ON YOUR LIFE IN 50 YEARS, WHAT DO YOU HOPE PEOPLE SAY ABOUT YOU
CHARLES: "I like that guy's voice."
HILLARY: "I hope people say that I love life, work hard, but have fun doing it and help to better this world in some way. I want to have more than just a list of accolades and awards, I hope to touch people with what I do because that is much more important."

On the Web: www.ladyantebellum.com

   

Images for above article.

 
     
Lady Antebellum; Capitol Records Nashville; Photo: David Johnson
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Artists Added to Lineup for 2008 CMA Music Festival Nightly Concerts on the Vault Concert Stages at LP Field

NASHVILLE, Tenn., April 16 -- The excitement builds for 2008 CMA Music Festival as Trace Adkins, Bucky Covington, Billy Ray Cyrus, Sara Evans, Little Big Town, Montgomery Gentry, Craig Morgan, James Otto, Kenny Rogers and Randy Travis are added to the performance lineup for the Nightly Concerts on the VAULT(TM) Concert Stages at LP Field. The four-day festival takes place Thursday through Sunday, June 5-8, in Downtown Nashville.

"We are thrilled to host these great performers at CMA Music Festival this year," said Tammy Genovese, CMA Chief Executive Officer. "This group is a great mix of today's hottest Country radio artists and legends. We know our attendees are going to enjoy them all."

In addition to achieving Country Music success, many of these artists have also become television favorites. Adkins was the runner-up on the Donald Trump-fronted "Celebrity Apprentice" this year. Cyrus currently stars in Disney Channel's "Hannah Montana" series (and upcoming movie) with his daughter Miley Cyrus, and will host "Nashville Star" this summer. In 2006, Covington was a finalist on "American Idol" while Evans participated in "Dancing with the Stars." The legendary Rogers headlined all five "The Gambler" television movies in the '80s and '90s. Both he and Travis have appeared on the television and silver screens in a variety of acting roles.

Travis will be making his first performance at CMA Music Festival in 10 years. He last performed at the event in 1998, when it was called by its original name, Fan Fair, and was held at the Tennessee State Fairgrounds

Other artists already confirmed to appear at LP Field include Rodney Atkins, Faith Hill, Alan Jackson, Jewel, Lady Antebellum, Miranda Lambert, Kellie Pickler, Sugarland, Taylor Swift, Josh Turner, Carrie Underwood and Dwight Yoakam. Surprise guests have also become a hallmark of the Festival, enriching an already star-packed lineup.

Tickets for 2008 CMA Music Festival are available now. To order tickets call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600. Prices do not include applicable handling fees.

Four-day ticket package categories correspond to different levels of seating at LP Field. Children 3 years and younger are admitted FREE. Four-day ticket packages include the Nightly Concerts on the VAULT(TM) Concert Stages at LP Field; Daily Concerts on the Greased Lightning(R) Daytime Stages; daily admittance to the truTV (TM) Fan Fair Hall featuring the Acoustic Corner; McDonald's(R)-Dr Pepper(R) Family Zone; Fun Zone; Chevy(TM) Sports Zone; CMA Music Festival After Hours presented by CMT; free in-town shuttles; the CMA Music Festival Program Book; CMA Music Festival pin; and more. Ticket prices and artist appearances are subject to change without notice. All sales are final and non-refundable.

For up-to-the-minute information about tickets, travel information, schedules, artist appearances and more, visit www.CMAfest.com and sign up for e-news.

CMA Music Festival is organized and produced by the Country Music Association. CMA Board member Tony Conway is the Executive Producer of CMA Music Festival. Premiere Radio Networks is the official radio broadcaster. Chevy: The Official Ride of Country Music. Borders(R) Books & Music: The Exclusive Music & Book retailer of the CMA Music Festival. Wrangler(R): The Exclusive Jean of the CMA Music Festival. Additional promotional partners include, CMT(TM), Dr Pepper(R), Greased Lightning(R) Cleaning Products, Mary Kay(R), McDonald's(R), Music City Rising Star, Tetley(R) Iced Tea, truTV(TM), and Vault(TM). Fan Fair(R) is a registered trademark of CMA.

Source: Country Music Association

Web site: http://www.cmafest.com/
http://www.cmaworld.com/

 

 

Nashville Sessions Then and Now
By Andy Ellis

 

IN THE STUDIO: Nashville Sessions Then and Now
Guitar Giants Tom Bukovac and Steve Gibson Bare Their Studio Tans

When the Lovin' Spoonful's "Nashville Cats" hit the charts in 1966, the world discovered what Country Music fans knew all along: Music City's guitarists are second to none.

This pickin' tradition dates back to the fateful day in 1955 when Harold and Owen Bradley opened the Bradley Film and Recording Studio on Sixteenth Avenue South. Soon after they opened a second facility, "Quonset Hut," which became one of the hottest places to record on Music Row. In the Bradley studios and RCA Studio B, Chet Atkins, Hank Garland and Grady Martin helped establish the pop-influenced Nashville Sound, which set the standard for the city's session guitarists, based on a melding of technique and inspiration that endures today.

The best studio players are often booked months in advance, so when two of Nashville's greatest guitarists, each representing his generation, happened to have a couple of hours off one day, we brought them together: Steve Gibson, a celebrated veteran whose toneful playing has helped define the Nashville sound for decades, and Tom Bukovac, a comparative newcomer who is responsible for some of the most feral six-string sounds in contemporary Country.

Each has amassed impressive credits throughout the years, Gibson having recorded with Kris Kristofferson, Martina McBride, Willie Nelson, George Strait and Hank Williams Jr., and Bukovac with Vince Gill, Rascal Flatts, Sugarland, Keith Urban and Gretchen Wilson, among many others. Amazingly, the two aces had never met until their arrival at CMA - but it took only seconds for each to find the groove in conversation as they've done countless times on disc.

How has Nashville's recording scene changed over the years?

GIBSON: I came to Nashville in 1972, when I was 19 years old. At that time, there were many more studios than there are today, and they stayed busy doing a variety of work: jingles, publishing demos, movie scores and custom sessions as well as big and little record dates. Of course, all that activity kept musicians busy. On a given day, you might do a national McDonald's jingle at 10 in the morning and a Chevy jingle at 11, grab a quick bite for lunch and then cut a demo for Guy Clark in the afternoon. Then at 6 you might work on a George Jones and Tammy Wynette album. The next day it might be George and Tammy again for a couple of sessions, and then you're off to do a B. J. Thomas date. In a short space of time, you moved from style to style and music to music. I don't see that range and density of work in today's studio culture.

Why not?

BUKOVAC: We now live in a Pro Tools world. Everybody has it [the Digidesign Pro Tools digital audio workstation], and many musicians feel all they need is a bedroom and a laptop to capture music. These days, recording to tape and having a killer drum room is considered a luxury. Cutting drums in a small room won't sound as good, but most people can't afford to rent out a big room, so they say, "We'll just do it at my house." The work gets done, but you can hear when the music has been mixed inside the computer instead of through a real console. Music sounds better when it's captured in a studio with rooms designed for that purpose. That said, a great engineer - and we have many here - can overcome some of the weaknesses of the digital recording medium.

GIBSON: I'd like to think there will always be a place for a good tracking room. People understand you need space to make drums sound good or record a string section or even capture a timeless guitar part. Plug-ins can't replicate the sound of an instrument pushing air into a microphone.

What hasn't changed over the years in Nashville?

GIBSON: People still get together in rhythm sections to cut music. Nashville is the last place where this happens. You don't find it in L.A. or New York anymore. There was once a studio business in Detroit, Chicago, Atlanta, Memphis, Muscle Shoals, Jackson, Dallas, New York and Philadelphia, but that's all gone. What's left of that spirit is best represented, I think, right here.

BUKOVAC: When I do a session, I'm always amazed at how freakishly good the other musicians are. To be honest, I can't believe I'm playing with cats like Gordon Mote, John Jarvis, Danny Dugmore, Shannon Forrest, Jimmy Sloas and Glenn Worf. These musicians transcend their instruments. There's a depth here that's mind-blowing and humbling.

GIBSON: I agree with Tom. The studio musicians in this town are the very best of the best, in terms of understanding the breadth of the music and knowing what needs to be done. That's the one thing that makes this town unique: incredible rhythm sections. It's Nashville's heart, soul and identity. Because of changes in the music business, it's been whittled away somewhat, but we still have it. We need to cultivate and retain it, because once you lose the combined experience, talent and creativity of a pool of seasoned session players, you can't go back. And you simply cannot replicate that feeling when you record a song one piece at a time, which is the norm elsewhere.

BUKOVAC: The difference between the first and second take in this town is unbelievable. Just play the song once and it will already be good. But by the second take, every little problem is healed. The second take may not have the fury and fire of the first, but if the piano and steel were clashing, that will be gone. And nobody said a word.

GIBSON: Take the rhythm section we use for George Strait records: Eddie Bayers, Stuart Duncan, Glenn Worf, Paul Franklin, Brent Mason, Mac McAnally, Steve Nathan, Matt Rollings and myself. We all know each other so well that when some little spark flies through the room, we instinctively know what to do. This may sound mystical, but it's really true. Something flies off of someone's hands and somebody else grabs it - instantly, mind you, without even thinking - and adds the next set of molecules to it and passes it on. There's nothing in the world that feels as gratifying.

You've both cut innumerable guitar parts. Which ones are your favorites?

BUKOVAC: The opening bit on Keith Urban's "You'll Think of Me." That somber, low, thick baritone is my soul in a note. You get lucky every once in a while.

GIBSON: I'm exceedingly proud of those England Dan and John Ford Coley guitar parts. [Producer] Kyle Lehning and I worked a long time on those, doubling the lines using just a Strat through a '50s Fender Deluxe. I was happy with my Telecaster tone on Randy Travis' "Diggin' Up Bones" and my Les Paul tone on Reba McEntire's "Is There Life Out There."

What about parts you wish you could do over?

GIBSON: My old rack gear made for crummy guitar sounds that I wish I could go back and change. We were all caught up in that during the '80s. But that's so minor when you put everything in perspective. In 35 years and thousands and thousands of sessions, I can count the bad experiences on one hand and still have fingers left over. Even today, I can't wait to go into the studio and cut some music. I love the hang, the smell of the studio - everything about it. I like the people, the crummy jokes and listening to a hit before anyone else hears it. I love watching people's reactions in the studio and trying to figure out, 'How scared is this artist? How concerned is the producer? Is this somebody's first shot or maybe their last?' And all the while, I try to remember Grady Martin's best advice to me: "Don't forget why they call them fills."

   

Images for above article.

 
     
Tom Bukovac and Steve Gibson
Photo: Amanda Eckard / CMA

 

     

The Session Connection
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association ®, Inc.

IN THE STUDIO: The Session Connection
Resources for Producers and Players

Producers may want to find players for their sessions. And these players want to make themselves known to those producers. So how can these two groups connect?

Generally, there are two ways to make this happen. Various referral services offer lists of musician names, contact information and qualifications for producers to access. Several of those that serve the Nashville community include:

www.backpage.com
(listings updated daily for work being sought and offered; basic listings are free, with minor charges required for prime display position and larger amounts for additional ad placement in the Nashville Scene)

Dick McVeys Musician Referral Service
(founded by Nashville musician/publicist Dick McVey; dedicated to helping musicians find work via listing distributed online and by fax to potential employers each month and posted on www.dickmcvey.com; annual payment is $125 plus filing fee of $20 for Tennessee residents and $30 for non-residents)

Recording Musicians Association
(independent directory and information source for musicians; annual rates vary from $75 to $200 for patron level, with membership restricted to AFM Musicians Union members; Nashville chapter at www.rmanashville.org)

www.studiotraxx.com
(facilitates global booking and delivery for individual parts as digital files via StudioTraxx portal;all user accounts are free,with fees charged only when sessions are booked).

The other conduit, word of mouth, is far older than any online resource. To make sure they're being discussed within music industry circles, musicians might sign up for one or more referral services and then take any gig they can, including entry-level demo sessions they might arrange for artists or songwriters for whom they've played at clubs, coffeehouses or songwriter circles. With luck, a producer with an open mind will hear and take action.

Producer and guitarist Kenny Greenberg, for example, has recently helped young guitarist Ben Brown gain a foothold in Nashville. His lead came from a friend, singer/songwriter Beth Nielsen Chapman, whose son attended Hillsboro High School with Brown. Greenberg brought fellow producer and session keyboardist Matt Rollings to hear Browns band at a local gig. Within days, all three were writing songs together, which Greenberg forwarded to CMA Awards-winning producer Tony Brown; this triggered a series of referrals that led to a Maverick/Reprise Records deal for Browns band, American Bang, as well as what Greenberg sees as a bright future in Music City studios.

"Ben is going to be one of the great session guys of the next generation, Greenberg said. You find guys like Ben by reading the local papers and seeing what showcase they're playing. You listen to demos, and if you hear something cool, you get back to the producer and say, 'I want that guy. And you listen to the artist you're recording, who might say, 'My cousin is in this band with a wild guitar player. I want him on my recording too.' You listen to everything and everyone you can. Sometimes that's a little more work, but man, if you're a producer, that's part of the game. And when you find someone like Ben, it pays off.

   

 

NEW ARTIST SPOTLIGHT: Justin Townes Earle
By Bob Doerschuk

 

© 2008 CMA Close Up® News Service / Country Music Association ®, Inc.

It's too easy to explain Justin Townes Earle's gifts as a musical legacy bequeathed by his father Steve Earle. The sound of The Good Life reflects a charisma and sensitivity that would distinguish anyone's debut album, regardless of pedigree.

Earle steeps these 10 original songs in traditional Country, with fiddles, guitars, dobros and piano that sound as if they've been waiting for generations in someone's attic before being retrieved, dusted off and tracked by producers R.S. Field and Steve Poulton. This sound suits Earle's folk-flavored melodies and lyrics, particularly on the song "Lone Pine Hill," whose Civil War narrative reveals a knack for rustic vernacular writing.

Raised in Nashville, Earle blazed his own musical path, winding from bluegrass to punk-inflected Americana and cultivating enough bad habits along the way to be fired from his father's band. He's cleaned up his act now, and while traces of the music he's done before can be discerned throughout The Good Life, they serve mainly to enhance a predominantly vintage Country aesthetic.

In the proto-rockabilly attitude that shambles through "What Do You Do When You're Lonesome," the two-beat, Hank Williams Sr. feel of the title track, the painful intimacy of "Turn Out My Lights," the saloon shuffle of "Lonesome and You" and "Ain't Glad I'm Leaving," whose honky-tonk redolence is enhanced by Chris Scruggs' lap steel, Earle understates his performances in ways that let the timeless feel and rare eloquence of these songs speak on their own.

That's not an easy skill to hand down. The Good Life, released on Bloodshot Records, promises more rich music to come on its own terms, genes or no genes.

MUSICAL HERO "Woody Guthrie."
INFLUENCES "Woody Guthrie, George Jones, Ray Price and Townes Van Zandt."
CD IN YOUR STEREO "Mando Saenz."
BOOK ON YOUR NIGHTSTAND "Suttree, by Cormac McCarthy."
FAVORITE MODE OF TRANSPORTATION "Pickup truck."

On the Web: www.myspace.com/justintownesearle

   

Images for above article.

 
     
Justin Townes Earle; Bloodshot Records; Joshua Black Wilkins
Photo: See Caption

 

 

 

 

 

Issue Date: 4/8/2008  
Vintage Country Television Finds New Life on DVD
By Crystal Caviness

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

The number of Country Music television shows now being issued as DVDs, particularly from the 1960s and '70s, is rising faster than Martha White biscuits.

Sony Legacy's "The Best of the Johnny Cash TV Show, 1969-1971," for example, earned Platinum status by topping 100,000 sales just four months after its release in September 2007. Other titles from 2007 included MPI's "Dolly Parton and Friends" and Time Life's "The Best of Barbara Mandrell and the Mandrell Sisters Show" and "Time Life Presents Glen Campbell: Good Times Again." The Country Music Hall of Fame and Museum, in partnership with Shout! Factory, released "The Johnny Cash Christmas Special 1976" and "The Johnny Cash Christmas Special 1977" on DVD for the 2007 holiday buying season. The Museum also issued four volumes of "Best of the Flatt and Scruggs TV Show" in partnership with Shanachie Entertainment. And an eight-DVD collection of Grand Ole Opry highlights from the institution's archives was released in late November 2007 under the title "Opry Video Classics" by Time Life.

The patriarch in entertainment marketing, Time Life, anticipated this trend five years ago when it released past performances from a classic Country Music variety show. "'Hee Haw,' with the comedy and the guest artists, was the perfect model for us," said Jeff Peisch, head of Time Life's video department in Arlington, Va. "The show was something we felt would be successful for us because of our success in selling Country Music CDs for so many years."

With more than 1.5 million units sold, the "Hee Haw" collection exemplifies what Peisch sees as an essential element in the appeal of most popular DVD reissues. "Nostalgia is probably at the heart of all our successful products - but we don't ever use the word 'nostalgia,'" he explained. "It's 'remember this?' and 'isn't it a great memory?' As you get older, you think back fondly to that music."

From the corporate standpoint, there are plenty of other reasons to dust off old Country Music television shows and make them available on disc. "It has a lot to do with the record business imploding the way it is," said Sandy Brokaw of the Brokaw Company, the Los Angeles-based publicity firm whose accounts include the Campbell and Mandrell DVD reissues. "A lot of the revenue stream comes from repackaging things. I liken it to having gold nuggets locked away, and every now and then you bring them out to have more gold nuggets."

"Other copyright owners will be looking to see what they have to be viable in today's market ... and will think more about video," added LeAnn Bennett, Director of Special Projects, Country Music Hall of Fame and Museum. "

The popularity of the DVD format helped make this possible. In 1999, according to Ars Technica, an online site dedicated to monitoring relationships between art and technology, one or more DVD players could be found in 6.7 percent of households in the United States. By the end of 2006, that number had risen to 81.2 percent.

"Everybody now has a DVD player, so we're realizing there is a market there," said Alan Stoker, Curator for Recorded Sound and Moving Image, Country Music Hall of Fame and Museum.

While acknowledging Time Life as pioneers in the practice of releasing Country Music TV footage on DVD, Stoker maintained that his organization's archival DVDs go beyond simply following a trend. "It serves our mission," he said. "Getting these programs transferred and out to the public meets our mission of education and preserving the culture."

This can be a laborious process. For their "Flatt and Scruggs" project, Stoker and his colleagues spent almost 20 years from concept to product for this series, which aired originally as 36 half-hour programs from 1956 through 1962.

"I knew the shows existed," he said. "But I always heard the tapes had been erased. Tape was so expensive [at the time], they would use and erase and record over it. For distribution, they would make film prints out of them and send those films out to TV stations for syndication. And then all the films would return to the source."

In 1989, William Graham, an executive with The ShowBiz Company, which was involved in producing "The Flatt and Scruggs Show," arranged with Stoker to donate the 24 episodes of the program that he had to the Country Music Hall of Fame and Museum. And then, against all odds, another donor, who remains anonymous, contacted Stoker with the 12 remaining episodes.

"We went from thinking there were no copies to having all 36 episodes in six months," Stoker recalled, who described this acquisition as "a miracle."

Over the next two decades, Stoker and others worked out agreements with Earl Scruggs and the Lester Flatt estate, finalized releases and did restoration work for the video and audio. This stage of the process can significantly raise production costs.

"People who buy DVDs are collectors," Peisch said. "We want to give them the best quality package. It starts with making sure the masters are remastered and cleaned up, the audio is cleaned up and then to supply as much additional material as possible. In this world of digital downloading, if people are going to pay to own something, it should be of the highest quality. People should get a lot of material for their money."

Time Life addresses this issue by offering bonus material with its DVDs, such as current footage of key people recounting tales of specific guests or production elements interspersed with original performances from the TV series. "Glen Campbell Good Times Again" features segments of Campbell taking his own walk down Memory Lane before each song.

Remembrances from son John Carter Cash, hairstylist Penny Lane, The Tennessee Three bassist Marshall Grant, the show's music arranger Bill Walker and Hank Williams Jr., preface performances on "The Best of the Johnny Cash TV Show" DVDs.

Marty Stuart hosts the bonus footage on "Opry Video Classics," which features 120 Opry performances from the 1950s to the 1970s. And at Stuart's suggestion, Porter Wagoner was brought in to offer commentary for this collection, which he filmed just weeks before his death.

Marketing dollars also can add to the costs of DVD reissues. Additionally, royalties for "secondary performance" must be paid to players and artists featured on the DVDs, or to their estates. "If you're doing it right, you have to get all the permissions from the songs," Stoker said. "If a musician can identify that he played on that record, he gets paid for secondary use."

"That's part of what makes [the releases] so hard," observed Cash. "There are numerous licensing fees. Performers have to be paid [Musicians] Union scale again. There are obligations to be filled and rightly so, of course, but that does make putting out something like this harder."

Despite these complexities, more Country Music shows are likely to hit the market in 2008, including episodes of "Bobby Bare and Friends," which are being prepared for joint release by the Country Music Hall of Fame and Museum with Shout! Factory. Bottom line, according to Glen Campbell, is that the quality of these classic shows ensures sufficient demand to make the efforts worthwhile.

"It's good TV and family entertainment," Campbell said. "The names on the DVDs are the biggest names in music of that day and are still big names today."

Or, in Peisch's succinct words, "They don't make TV like this anymore."

   

Images for above article.

 

 

 

 
"Dolly Parton & Friends"; MPI
Photo: See Caption

 

"Glen Campbell Good Times Again" DVD; Time Life
Photo: See Caption

 

"A Salute to Hee Haw"; Time Life
Photo: See Caption

 

"The Best of the Johnny Cash TV Show"; Sony Legacy
Photo: See Caption

 

How Musicians Get Paid for DVD Reissues
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

To fans, releases of classic Country Music television shows on DVD can be a thrill and a delight. To members of the American Federation of Musicians, they can be a headache.

Every musician who appears on a reissued program, from the high-profile instrumentalist to the obscure rhythm guitarist who traveled long enough with Guest Star X's band to appear on one episode of, say, "The Johnny Cash Show," is eligible for compensation per agreements signed with the producers of that show.

The questions are: Who is responsible, 20 or 30 years later, for rendering that compensation? And . what was that rhythm guitar player's name anyway?

"We're more than willing to pay the musicians this money," said Country Music Hall of Fame Member Harold Bradley, President of the AFM's Local 257 in Nashville. "But first we have to locate the people who put out these DVDs and make sure they know they're responsible. We have to get the money from them. Then we have to get a copy of the film or video and identify everybody on it."

And that's just a part of the process. The nature of the initial agreement has to be defined. Typically, musicians who appeared on television shows were offered reissue deals based either on a tiered system of payments, depending on how many copies of the DVD - or, in olden days, the video cassette - were sold, or on a flat 2 percent of the distributor's gross profit. The second method involves less paperwork and monitoring, but the amount that each musician receives from this fund depends on how many other musicians were involved. Obviously, if there were 20 rather than five players on a particular broadcast, the pieces of the pie get a little smaller.

It gets more complicated when the DVD is a compilation of excerpts from shows, as opposed to complete episodes. "At that point, we have to identify how many episodes the compilation comes from, how many musicians are participating as a whole and negotiate with the distributor to set a price based on the volume of sales," said Melissa Hamby Meyer, Director, Electronic Media, at Local 257.

Fortunately, it's not hard for musicians to avoid getting tangled in this web: Just save the contract signed for each televised appearance, file it and know where it is when that performance winds up on DVD or whatever other medium emerges in years to come. That signed piece of paper saves the AFM time and money in making sure payments are rendered.

Even so, don't count on retiring on this income. An appearance on a 30-minute variety program from the '70s, for instance, might translate into a lump-sum check for as little as $18.75. "At least you can count on a good cup of Joe," Meyer advised.

   

 

NEW ARTIST SPOTLIGHT: Cody McCarver
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

In some ways, Cody McCarver's story isn't so different from those of other up-and-coming Country artists. He's a Southerner, born and raised in Dunlap, Tenn., near Chattanooga. He began playing piano in church at age 9 and by 17 had graduated to doing shows in honky tonks.

His path began to separate from the norm when he parlayed his self-taught instrumental skills into a two-year run on bass with Lynn Anderson's band. He stayed on the road after that, playing piano with Confederate Railroad. And now, with his self-titled debut album, produced by Csaba Petocz, released on PLC Records and distributed through Navarre, McCarver charts his own refreshing course.

His sense of humor is one thing that stands him out from the crowd. Some of the covers on Cody McCarver suggest a playful irreverence. This quality emerges in the straight-faced irony of his performance on "Red Flag," a guide to early warning signs in new relationships, the mock-epic "Redneck Love Gone Bad," his descent from "cocaine" to "Rogaine" on "Sunset Boulevard" and "Country Badass," whose deconstruction of macho stereotypes is familiar, hilarious and endearing.

But another side surfaces on "Through God's Eyes," co-written by McCarver. This meditation on the lives of the disadvantaged, conveyed with an almost conversational delivery that draws the audience into the heart of the story, reveals a narrative gift whose cultivation might be the next step in McCarver's ascension. The point being made here is that he's nowhere near the end of the journey he began back at the piano in that small-town church.

Q&A:

INFLUENCES
"Waylon Jennings, Johnny Paycheck, David Allan Coe, Johnny Cash and Jerry Reed."

MUSICAL HERO
"Waylon Jennings."

HOMETOWN
"Dunlap, Tenn."

DREAM DUET PARTNER
"Stevie Nicks."

SONG YOU SING IN THE SHOWER
"I don't sing in the shower, as I'm afraid I will drown."

SONG YOU'D SECRETLY LIKE TO COVER
"'If That Ain't Country,' by David Allan Coe."

SONG YOU WISH YOU'D WRITTEN
"'Live Like You Were Dying.'"

BOOK ON YOUR NIGHTSTAND
"Bedside Blessings, by Charles R. Swindoll."

CD ON YOUR STEREO
"The Band's The Last Waltz."

WORD OR PHRASE YOU SAY OVER AND OVER
"Help me Country radio."

MODE OF TRANSPORTATION YOU PREFER
"Tour bus or a Ford pickup."

ACTOR TO PORTRAY YOU IN YOUR BIOPIC
"Billy Bob Thornton or Matthew McConaughey. These are two actors I can think of that speak almost as Southern as I do."

PET PEEVE
"Hypocrisy."

YOUR LUCKY CHARM
"A leather bracelet my father made."

TITLE OF YOUR AUTOBIOGRAPHY
"If You're Gonna Be Dumb, You Gotta Be Tough."

WHEN THEY LOOK BACK ON YOUR LIFE IN 50 YEARS, WHAT DO YOU HOPE PEOPLE SAY ABOUT YOU?
"He was a good father, a good son, brother, friend and an all around good man. He was just who he was, there was nothing fake or egotistical about him. He loved Country Music more than anything and gave all to anyone who would listen to his music. But as important as his career was, family and friends we're the most important thing to Cody."

On the Web: www.codymccarver.com

   

Images for above article.

 
     
Cody McCarver; PLC Records; photo: Myriam Santos-Kayda
Photo: See Caption

 

 

 

Issue Date: 4/1/2008  
Ride the Road to CMA Music Festival
By Maria Eckhardt

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

Fans of CMA Music Festival, taking place June 5-8 in Downtown Nashville, know the event is just around the bend when the "Road to the CMA Music Festival" launches in their hometown. This program brings talent directly to the people through a concert tour that's guaranteed to build enthusiasm for the Festival.

This year's "Road to CMA Music Festival Presented by Tetley Iced Tea" shows feature a double bill, with Jennifer Hanson opening for Darryl Worley. Presenting sponsor Tetley Iced Tea and secondary sponsor Greased Lightning Cleaning Products will offer samples at each performance, and sponsor Chevy will display one of its vehicles at the venues. Additionally, promotional events are planned, with local radio remotes and  giveaways at a grocery retailer during the day of each concert.

"Tetley has been making iced tea for more than 50 years," said Clive Rowlandson, VP, Marketing, Tetley Iced Tea.  "We know our product is about more than refreshment, it's about sharing good times with family and friends.  That's what this tour is all about too, a great way to kick back and have fun this summer.  We think Tetley Iced Tea and Country Music is a perfect partnership."

"I'm very excited about going on the road with Jennifer Hanson. She is such a great talent," exclaimed Worley. "I look forward to new relationships with Tetley Iced Tea and Greased Lightning. This will be a terrific way to lead up to the CMA Music Festival and hopefully this tour will increase the excitement."

"The CMA Music Festival is one of my absolute favorite events of the year," said Hanson. "When I was a little girl, I spent many of my summer vacations in Nashville with my dad, attending the shows and getting autographs. But not everyone gets to come to Nashville and experience Music Festival in Music City. It's great that CMA and Tetley Iced Tea are sponsoring a tour that takes a little slice of the excitement that is Music Festival out on the road."


Date         City                                     Venue   
APRIL
17             Houston, Texas                    Firehouse Saloon  
18             San Antonio, Texas              Cowboys Red River 
19             Fort Worth/Dallas, Texas     Billy Bob's Texas    
24             Orlando, Fla.                        Cheyenne Saloon 
25             Tampa/St. Petersburg, Fla.  Jannus Landing Courtyard 
26             Charlotte, N.C.                    Coyote Joe's  
30             Birmingham, Ala.                  Zydeco   

MAY
1               Jacksonville, Fla.                  Mavericks at the Landing
2               Atlanta, Ga.                         Wild Bill's  
4               Raleigh, N.C.                       Longbranch Saloon  

Visit www.CMAfest.com for information on how to purchase tickets to the "Road to CMA Music Festival Presented by Tetley Iced Tea." To order CMA Music Festival tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600.   Four-day ticket package categories correspond to different levels of seating at LP Field for the Nightly Concerts. Children 3 years and younger are admitted FREE. For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for CMA Exclusive e-news.

   

Images for above article.

 

 

 
 
Tetley Iced Tea Presents Road to CMA Music Festival logo
Photo: See Caption

 

Darryl Worley; photo: Jeremy Cowart
Photo: See Caption

 

Jennifer Hanson; photo: Juan Pont Lezica
Photo: See Caption

 

 

Country Music Drives Carl Black Chevrolet to Festival Success
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

A Chevy can pack a lot of power as well as speed - but nothing on wheels was faster or stronger than P.D. Sumner's decision to sign Carl Black Chevrolet to a sponsorship agreement at CMA Music Festival, a four-day event held each June in Downtown Nashville.

As VP of the Carl Black Automotive Group, the executive completed his move from the company headquarters to Nashville just two days before the Festival began in 2003. Even so, that was time enough for him to sense that his company was a perfect match for Country Music's most spectacular celebration.

That's one reason why he responded instantly when Melony Wilson, Advertising Director for the new Nashville office, suggested he contact CMA even as the pace of opening the Nashville dealership was reaching its peak. "We went in with our hair on fire," he remembered, laughing. "It seemed like we were working 24 hours a day to make sure we were part of that year's Festival, although we didn't know if we were going to even live through it."

On June 4, 2003, Carl Black Chevrolet, which had opened for business on June 2, debuted in the Family Zone, with a table, chairs and a brand new Silverado, which they unveiled and gave fans the opportunity to register to win. 

Since then, in addition to the Silverado, they've expanded to include a booth in which several guitars are offered in drawings each day of the Festival, with an artist dropping by at the end of each giveaway cycle to do autographs, sign the guitar and pose with its winner. Participating artists have included Trace Adkins, Big & Rich, Luke Bryan, Jason Michael Carroll, Eric Church, Cole Deggs and the Lonesome and Chris Young, among many others.

Sumner knows that his company's sponsorship has been worth its investment. "We don't expect, when we have our drawings, that we're going to sell somebody a truck that day or even that week," he said. "For us, it's more about the residual effect: When people are in the market for a vehicle, they'll remember that great time they had in our booth and give us an opportunity. When they give us that mental shelf space, we know we've done our job."

There are other perks too. Every day he's in his Nashville office, Sumner can look beyond his desk to walls festooned with memorabilia of the ties, personal and professional, he's built in Music City: autographed pictures and posters from Brooks & Dunn, Cowboy Troy, The Wreckers . and a CMA Awards poster, signifying the promotions they've run to bring customers from other markets to the annual broadcast and special activities, including a meet-and-greet last year with Van Zant.

"It's a blast to be part of something this big, to see this much talent in one place at one time," he admitted. "We're Country Music fans. And anytime you can be part of something that you enjoy, you're going to succeed."
 
To order CMA Music Festival tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600.   Four-day ticket package categories correspond to different levels of seating at LP Field for the Nightly Concerts. Children 3 years and younger are admitted FREE. For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for CMA Exclusive e-news.

   

Images for above article.

 

 

 

 
Trace Adkins in the Carl Black booth at CMA Music Festival. photo courtesy of Carl Black
Photo: See Caption

 

Chris Young in Carl Black Booth; photo courtesy of Carl Black
Photo: See Caption

 

Blue County in a Carl Black vehicle during the CMA Music Festival Kick-off Parade.
Photo: Theresa Montgomery / CMA

 

Trent Tomlinson greets fans in the Carl Black Booth. photo courtesy of Carl Black
Photo: See Caption

 

International Performers Gather at CMA Global Artist Party
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

On Monday, June 2, a few days before the four-day CMA Music Festival launches on June 5 in Downtown Nashville, a chorus of accents from far beyond Music Row will make their own kind of music at The Stage, on Lower Broadway, as fans from around the world gather to welcome their hometown artists to Music City for the CMA Global Artist Party. Now rockin' for its fifth consecutive year, this special event showcases some of the hottest new international talent. Scheduled to begin at 6 PM, the festivities will include performers from Australia (Troy Cassar-Daley, Shea Fisher, Jasmine Rae), Belgium (Kat'Lee Jones), Canada (Jessie Farrell, Johnny Reid), Ireland (The Murphy Band) and The Netherlands (Wim van de Vliert). Admission is FREE and open to the public, with preference given to those with a four-day CMA Music Festival laminate and/or a CMA Global Artist Party pass.

To order CMA Music Festival tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600.   Four-day ticket package categories correspond to different levels of seating at LP Field for the Nightly Concerts. Children 3 years and younger are admitted FREE. For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for CMA Exclusive e-news. 

   

Images for above article.

 

 

 
 
Jessie Farrell; photo: Ivan Otis
Photo: See Caption

 

Katlee Jones; photo: Luc De Decker
Photo: See Caption

 

Troy Cassar-Daley
Photo: See Caption

 

 

Just Who are Those Fun Team Volunteers?
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

You know who we mean: those upbeat folks who roam the CMA Music Festival each June in Downtown Nashville, bearing free gifts and lifting spirits through games, sing-alongs and whatever other antics come to mind.

These sunny youngsters are mainly students or recent graduates from Gallatin High School, just outside of Nashville. Brian Hoover, a faculty member at Gallatin, picked up experience as a talent escort at the CMA Awards, so when word went around that volunteer opportunities were opening up at the Festival, Hoover recruited candidates from among his students.

One of those opportunities involved gathering people who enjoyed entertaining, had a quick sense of humor and were willing to spread cheer among Festival attendees who were waiting in line for autographs, products or admission to shows. Four Gallatin students fit that bill for the first Fun Team in 2002.

Membership has risen since then to nine, but responsibilities haven't changed. The Team gathers each morning of the Festival to pick up their days' worth of CDs, T-shirts, battery-powered mini-fans and other items to hand out on behalf of sponsoring organizations. Then they split into groups and, from the start of each day's activities until the last of the crowd files past them into LP Field at night, distribute these souvenirs, lead trivia contests, set up footraces, point passers-by toward the next big show or celebrity appearance - in other words, live up to their mission as well as their name.

One veteran Fun Team member, Kurt Peladeau, has graduated from Gallatin and begun pursuing a marketing and advertising degree at East Tennessee University in Johnson City. Yet he promises to be back for his third Fun Team run in June. "It's a blast," he explained. "We're here to have a great time and make sure you do too. The Fun Team is a great group of kids."

Well, great, yes, but not necessarily all kids: For the third consecutive year, Randy Burse, 38, who teaches drama at Gallatin, will don the Fun Team T-shirt along with some of his students and their classmates. "It's great to meet people from all around the world at the Festival. And besides," he added, "when you hand out free stuff, you're very popular."

To order CMA Music Festival tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600.   Four-day ticket package categories correspond to different levels of seating at LP Field for the Nightly Concerts. Children 3 years and younger are admitted FREE. For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for CMA Exclusive e-news.

   

Images for above article.

 
     
CMA Music Festival Fun Team member hands out samples.
Photo: Amanda Eckard / CMA

 

     

Looking Good with CMA Music Festival Gear
By Tyler Evick

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

If you're finding it difficult to wait until June 5 when the four-day CMA Music Festival launches to dress the part of the ultimate Country Music fan, CMA Music Festival merchandise is available for purchase now. Ladies can pick up a heather-blue T-shirt ($20) adorned with a color guitar illustration (available in seven sizes: 0-16). Festival-themed cactus green T-shirt ($20) featuring a guitar line drawing (sizes: small - 2XL) and an asphalt-colored zip-up hoody ($40) with multi-colored scroll art (sizes: small - 2XL), for men and women, are also ready to order. To go stylish with this year's attire, visit the online store at www.CMAfest.com. Check back for updates as more products become offered. CMA Music Festival attendees can come dressed to impress with clothing that captures the spirit and style of the event. The complete apparel line, which will be sold onsite during the Festival at five locations, is designed and produced by Music City Merchandise, CMA's merchandise partner for the past 14 years.

To order CMA Music Festival tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600.   Four-day ticket package categories correspond to different levels of seating at LP Field for the Nightly Concerts. Children 3 years and younger are admitted FREE. For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for CMA Exclusive e-news.

   

Images for above article.

 

 
   
CMA Music Festival Hoodie
Photo: Amanda Eckard / CMA

 

CMA Music Festival T-shirts
Photo: Amanda Eckard / CMA

 

 

Barbecue Virtuosos Go Tong-to-Tong
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

World-class barbecue is one of many attractions that bring visitors to Nashville throughout the year. But during the four-day CMA Music Festival June 5-8 in Nashville, for two days, Saturday, June 7 and Sunday, June 8, lovers of this most American cuisine will be drawn irresistibly to one place in the heart of Music City.

That spot, facing Franklin Street between Fifth and Sixth Avenues in Downtown Nashville, on the south end of the parking lot behind the Sommet Center, will be home base for approximately 50 outstanding barbecue chefs, assembled to prepare their best recipes in four categories for chicken, beef brisket, pork ribs and pork shoulder/butt in the first CMA Music Festival BBQ Championship.

Sanctioned by the Kansas City Barbecue Society and organized on behalf of CMA by Arlie Bragg of Nashville's Arlique Catering and Event Management, this event pits award-winning barbecue chefs and the cuisine's hottest new masters against one another. Stakes are high, with more than $17,000 in cash and prizes to be distributed to category winners and an overall championship that includes $2,500, a trip to the 2008 CMA Awards including accommodations, an invitation to take part in the KCBS's prestigious American Royale competition and eligibility to participate in late October at the "The Jack," a.k.a. Jack Daniel's World Championship Invitational Barbecue in Lynchburg, Va.

Each chef, with their team and equipment, will have a 20-foot-by-40-foot space. Their handiwork will be presented by category every half hour, beginning with chicken at noon on Sunday. These will be reviewed by judges arranged in groups of six, whose criteria include appearance, taste and tenderness.

"'Country before it was cool' - that's me, man," said Byron Chism, owner/founder of Florida-based Bad Byron's Specialty Food Products and a multiple award winner at barbecue contests. "To come to Nashville to do what I love to do, which is barbecue, and be at the epicenter of the Country Music world, you can't beat that."

That got an "amen" from another scheduled participant, Chad Hayden of Kentucky's Moonswiners and Grand Champion of the 2007 Jack Daniel's world title. "Barbecue and Country Music," he summed up. "You can't get much more American than that."

Visit www.CMfest.com/bbq for more information, rules and to download an entry form. To order CMA Music Festival tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600.   Four-day ticket package categories correspond to different levels of seating at LP Field for the Nightly Concerts. Children 3 years and younger are admitted FREE. For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for CMA Exclusive e-news.

   

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CMA Music Festival BBQ Championship logo
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Byron Chism of Bad Byron's Specialty Food Products offers a taste of what's to come at CMA Music Festival BBQ Championship. photo: Dan Mohr
Photo: See Caption

 

   

Music City Rising Star Competition Returns
By Tyler Evick

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

 

For young singers from around the world who dream of building careers in performing, the Music City Rising Star Youth Vocal Competition is an ideal place to start. 

 

Two of the inaugural competition's outstanding performers were Avery Hovey, 16, of Portland, Tenn., the Champion as well as winner in the Overall Female and Overall SR Vocalist categories, and Brock Storm Timmerman, 17, of Lake City, Fla., who took first place in the Overall Male Vocalist division. As a new crop of teenage hopefuls prepare for their appearances at the 2008 contest, Hovey and Timmerman offered advice on how to make the best impression when their moment in the spotlight comes.

 

How did you find the perfect song for your performance?

 

HOVEY: I sang a song that my friend wrote. I had sung it at another competition.

 

TIMMERMAN: I actually picked my song because my grandmother wanted me to sing it.

 

How did you decide what to wear?

 

HOVEY: I headed to Wal-Mart and looked for an outfit that fit my song. It was a ballad, so I found a dress that was classic-looking. You need to find something that fits the song but is comfortable for you at the same time.

 

TIMMERMAN: I bought it at a mall in Nashville the day before.

 

Do you follow any special routines before performing?

 

HOVEY: I like to show up early and watch a little of the competition to see how the audience is reacting and what kinds of songs people are singing to catch the mood of the audience.

 

TIMMERMAN: I like to eat regular Lay's potato chips before I sing. It makes me feel calm and relaxed.

 

How do you engage the judges?

 

HOVEY: I couldn't see them, so I chose a few people out in the audience and sang to them. I looked at other people too but focused on those few and told them the story.

 

TIMMERMAN: I try to look at everyone and involve them all.

 

Did your performances affect you?

 

HOVEY: Since I won, I got the opportunity to attend the CMA Awards and get all dressed up and make a night of it. I even got a goody bag! As far as media goes, I've been interviewed by a lot of the local newspapers. And I really took to heart what the judges said about my performance. It encouraged me to get a new vocal coach and pursue singing a little harder.

 

TIMMERMAN: I have had the chance to do a lot of recording lately. I also got to be on the "Incubator" show on Radio Disney. I'm also in the middle of managers and music attorneys listening to my demo and shopping it around.

 

How has winning changed your plans for the future?

 

HOVEY: It really encouraged me to pursue applying to the Berklee College of Music.

 

TIMMERMAN: I've just been working hard on my music and trying to get more people interested.

 

Any final tips?

 

HOVEY: Don't overdo it. Choose a song that is challenging but is in your range and singable for you.

 

TIMMERMAN: Choose a song that fits you and shows your personality as an artist. Also, have a blast. My favorite part of last year's competition was getting to know all of the contestants and making new friends.

   

 
 
 
   
  Avery Hovey, 16, of Portland, Tenn., the 2007 Music City Rising Star Youth Vocal Soloist Competition Champion and winner in the Overall Female and Overall SR Vocalist categories.
Photo: John Russell / CMA

 

   

Tetley Iced Tea Makes Cool Debut as CMA Music Festival Sponsor
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

Fans come to CMA Music Festival each year with a thirst for autographs, photo ops and great entertainment. But sometimes they're just plain thirsty, and that's where refreshing Tetley Iced Tea promises to come to their aid.

As a new Festival sponsor, the venerable tea company, which has been producing iced tea in Georgia for more than 50 years, targets today's Southern consumer, for whom tea is as contemporary as modern Country Music. At this year's event which takes place June 5-8 in Downtown Nashville, expect to find Tetley Iced Tea samples being handed out in dry souvenir packets at the Fan Fair Hall as well as tasted in the heat of the outdoors at the McDonald's-Dr Pepper Family Zone.

Tetley serves markets throughout the world, each with its own tea-drinking preferences. "Our blend is developed to deliver what the Southern drinker is looking for: a bright, clear beverage with refreshing, real tea taste," explained Cathy Kolumbus, Sr. Brand Manager, Tetley USA. "If you use the wrong kind of tea, the drink can go cloudy when you add the ice cubes, so we designed our blend specifically for iced tea."

Tetley is warming up for its Festival debut by sponsoring this year's "Road to CMA Music Festival Presented by Tetley Iced Tea" concerts. These 10 shows, featuring performances by Jennifer Hanson and Darryl Worley, will be heralded by radio remotes from retail locations, complete with local ticket giveaways. Additionally, Tetley will sponsor a sweepstakes, with an all-expenses-paid trip to the Festival, including air fare, hotel accommodations and VIP passes as its grand prize. Participants are invited to register at participating retail outlets and concerts served by the "Road to" shows as well as on www.tetleyusa.com.

"Our brand's values are very family-friendly, natural, wholesome and warm," Kolumbus said. "And our product is about more than just refreshment. It's about sharing good times with family and friends. Country Music reflects that much better than other music genres. That's why we know that Tetley Iced Tea is a great fit with the occasion, the region and even the season of CMA Music Festival."

To order CMA Music Festival tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600.   Four-day ticket package categories correspond to different levels of seating at LP Field for the Nightly Concerts. Children 3 years and younger are admitted FREE. For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for CMA Exclusive e-news.

   

 
       
       

"Field & Stream" Search for Top Outdoorsman
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

Field & Stream, the world's leading outdoor magazine announced the dates (listed below) for the 2008 Field & Stream Total Outdoorsman Challenge. The event, the country's premier showcase for outdoorsmen, is a coast-to-coast competition to name the most competent and well-rounded sportsman in the nation. Thousands of sportsmen and sportswomen are expected to compete at 25 Bass Pro Shops across the country and during one special event taking place at the CMA Music Festival, June 5-8 in Downtown Nashville. With 23 of Bass Pro Shops' 49 stores hosting FREE local qualifiers throughout April, May and June joining in on the fun will be easier then ever.

"The more you know about the outdoors the more fun you can have," said Anthony Licata, Editor, Field & Stream. "We're looking for persons who live for the outdoors. The kind of person who enjoys all four seasons because they enjoy hunting, fishing, camping and everything that comes with it."

Events will kick-off in April at Bass Pro Shops with a series of local qualifiers, with top finishers from each store advancing to one of six regional qualifiers. Sixteen regional winners will receive cash prizes and advance to the Field & Stream Total Outdoorsman Challenge National Championships in Springfield, Mo., in September. For a list of stores participating, times, dates and official rules, visit www.FieldandStream.com/totaloutdoorsman or www.basspro.com.

For the first time the Field & Stream Total Outdoorsman Challenge will make a special stop at the CMA Music Festival June 5-8 in Downtown Nashville, including a special celebrity edition in the Chevy Sports Zone June 5. The next day, the Nashville Regional Championships will take place in the same location, a FREE area open to the general public in addition to the Festival four-day registrants.

In its fifth year, the Field & Stream Total Outdoorsman Challenge is the only contest in the country to determine the most competent all-around outdoorsman. The event tests sportsmen's abilities by putting them through a series of skills challenges that that touch on all areas of the outdoor sports from fishing and shooting to ATV handling and archery. 

Entering the Field & Stream Total Outdoorsman Challenge is FREE and each competitor will receive a gift bag full of goodies from Field & Stream, Bass Pro Shops and more. The National Championship winner will be crowned Field & Stream's Total Outdoorsman and walk away with $25,000 in cash and prizes, a feature in Field & Stream and extensive coverage on www.FieldandStream.com and the "Field & Stream Total Outdoorsman Challenge" television show. The event carries a total prize purse of more than $50,000.

Hopefuls for the contest who can't make it to a local qualifier but think they have what it takes to take the title can apply for a special wild card spot for the National Championship online at www.FieldandStream.com/totaloutdoorsman. With only one wild card spot available event organizers strongly suggest that online applications include video and/or photos.

Sponsors of the 2008 Field & Stream Total Outdoorsman Challenge include: CMA Music Festival, Bass Pro Shops, Toyota, Wolverine, BowTech, Repel Insect Repellant, Dinty Moore and The National Shooting Sports Foundation.

To order CMA Music Festival tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600.   Four-day ticket package categories correspond to different levels of seating at LP Field for the Nightly Concerts. Children 3 years and younger are admitted FREE. For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for CMA Exclusive e-news.

Field & Stream Total Outdoorsman Challenge SCHEDULE:

Local Qualifiers:
(Listed in alphabetical order by city)
    - Auburn Hills, MI- April 5, 6, 12, 13, 19, 20, 26, 27 
    - Bolingbrook, IL  - May 16-18 
    - Cincinnati, OH - May 16-18 
    - Clarksville, IN - April 18-20 
    - Columbia, MO  -  May 16-18 
    - Denham Springs, LA - April 18-20 
    - Foxborough, MA - May 10, 17,18 
    - Grapevine, TX - May 31 prior to Regional 
    - Gurnee, IL  - May 2-4 
    - Harrisburg, PA - June 21 prior to Regional 
    - Independence, MO  - June 28 prior to Regional 
    - Katy, TX - April 11-13 
    - Las Vegas, NV - April 12, 19, 20 
    - Macon, GA - April 18-20 
    - Mesa, AZ - April 4- 6 
    - Myrtle Beach, SC - April 25- 27 
    - Nashville, TN - May 9-11 
    - Nashville, TN - June 6 at CMA Music Festival prior to Regional 
    - Olathe, KS  -  April 12, May 25, June 11 
    - Orlando, FL - May 10 prior to Regional 
    - Pearl, MS - March 22, April 12, 22 
    - Pearland , TX - April 4-6 
    - Portage, IN - May 8, 10, 11 
    - Rancho Cucamonga, CA - April 11-13

Regional Championships:
    - Rancho Cucamonga, CA - May 3 
    - Orlando, FL - May 10 
    - Grapevine, TX - May 31 
    - Nashville, TN - June 6 at CMA Music Festival 
    - Harrisburg, PA - June 21 
    - Kansas City, MO - June 28

National Championship:
    - Springfield, MO - September 5-7

   

Images for above article.

 
     
CMA Music Festival logo
Photo: See Caption

 

     

Repel Offers Sweepstakes
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

As a sponsor of CMA Music Festival, which takes place June 5-8 in Downtown Nashville, Repel Insect Repellant is showing its support for Country Music and its fans by launching its first "Repel CMA Music Festival Sweepstakes."

Registration is through May 15 for a grand prize that includes two tickets to the Festival, air travel, hotel accommodations and more - a value of more than $3,000.00.

"Repel is designed to help folks enjoy the outdoors, no matter if they are hunting, fishing, hiking or just listening to great music," said Gary Ramey, Divisional VP, Repel. "We're excited to award a lucky winner and their guest a trip to the ultimate outdoor music event - and to provide them the protection they need to enjoy it."

Entry forms are available at www.repelmagicgiveaway.com and at participating Repel retail stores.

To order CMA Music Festival tickets, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600.   Four-day ticket package categories correspond to different levels of seating at LP Field for the Nightly Concerts. Children 3 years and younger are admitted FREE. For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for CMA Exclusive e-news.

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Issue Date: 3/18/2008  
 
TV Veteran Brings Good News to CMT
By Crystal Caviness

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

What brought John Hamlin, a veteran producer for CBS News' award-winning show, "60 Minutes," to Nashville was dinner.

After hearing that Hamlin had some programming ideas, Bob Kusbit, Head of Development at Country Music Television (CMT), invited him to talk it over at a restaurant meeting.

As he listened, Kusbit became more intrigued - not so much with the shows but with the man pitching them. "I thought, 'This would be a guy I'd love to have full-time at CMT,'" he recalled.

Not long after that, Hamlin was onboard at the cable music network, as Senior VP of Production and Development.

After "long conversations over the next few weeks," according to Kusbit, the two-time Emmy Award winner stepped away from his position with one of television's most respected news shows, moved with his family from their Florida waterfront home and went to work at his Nashville office by late July 2007.

A background in hard news may seem incongruous in the world of music television, but a closer look at his prospectus of more than 25 years of television experience reveals areas of synchronicity. While working for 15 years at "60 Minutes," Hamlin produced segments on some of the biggest names in entertainment, including Dixie Chicks, Faith Hill, Madonna, Paul McCartney, Willie Nelson and U2.

"John has a deep-rooted interest in music and Country Music," Kusbit explained. "He's had great success in getting artists to do things in new and inventive ways. He has great connections with artists and labels. His connections and interest in music made us go after him and want him for the channel."

But it wasn't only Hamlin's music-related work that made him a fit for CMT. "We're always looking for new ways to do television shows that appeal to the CMT audience," Kusbit said. "With John's skill as a television producer, he can find creative ideas and then oversee and execute them correctly.

"And because of his background with '60 Minutes,' his integrity is top notch," he added. "It just brings a high level of person to the channel. He's incredibly driven and enthusiastic, and I hope that energy will add to the lifeblood that's already at CMT."

In Hamlin's view, CMT programming breaks down to three parts: music programming, including "CMT Crossroads," its "Giants" franchise and the network's signature annual event, the "CMT Music Awards;" non-scripted and non-music programming that includes such hit series as "Dallas Cowboy Cheerleaders: Making the Team," "Hogan Knows Best," "Trick My Truck" and "Trick My Trucker;" and a third category that, in Hamlin's words, "marries both of these genres by putting Country artists into compelling reality-driven concepts."

As examples, he points to three new CMT series. The first is "Gone Country," hosted by John Rich of Big & Rich, who gives seven established performers from different realms of the entertainment and music industries a chance to break out as the next Country superstar. The second is "Can You Duet," a music competition series from the producers of "American Idol," designed to find the best Country Music duo in America. Finally, there's "Invitation Only," which Hamlin described as "a cross between 'Storytellers' and 'Inside the Actors Studio.'"

"Invitation Only" debuted on CMT last fall with Keith Urban; the next installment launched in March with Alan Jackson. "It's a music-driven show," Hamlin observed. "And we're letting artists shape the show to fit their particular vision, while providing the audience with an up-close and personal look at their favorite artists."

In every concept he's addressing for CMT, Hamlin applies the most important lesson learned through his news and sports background. "Whether you're showing a football game or a reality show, television is storytelling," he explained. "I asked one producer about how he sees one idea we're developing that involves talent from Music Row. He said, 'Well, we'll be following so-and-so around.' And I said, 'Stop right there. Don't just follow a celebrity. Tell me what they're going through. Tell me a story!'"

Hamlin and another recent addition at CMT, Jay Frank, Senior VP of Music Strategy, work together to communicate the network's goals to the music community. "CMT is trying to embrace artists, record companies and managers in a collaborative way that we can all work together and do things that are good for all of us," Hamlin said. "Music Row is in the business of selling records and tickets. The more records and tickets they sell, the better for us. If we make the right choices, it only helps the business of CMT.

"But," he added, "we want to be careful. We'll never underestimate the intelligence of the CMT audience or any other audience. You don't want to package stuff so that it looks like an infomercial or a strictly promotional piece, because people are more sophisticated than that."

And what about that pitch that first brought Hamlin to the table with Kusbit?

"They've already made it onto our development slate," Hamlin confirmed.

Stay tuned.

On the Web: www.cmt.com

   

Images for above article.

 
     
John Hamlin, Senior VP of Production and Development, CMT. Photo: Chip Lloyd
Photo: See Caption

 

 

 

Issue Date: 3/11/2008  
 
How Songpluggers Find Homes for Hits
By Randy Rudder

 

© CMA Close Up News Service / 2008 Country Music Association®, Inc.

The motto of the Nashville Songwriters Association International lays out the truth in plain language: "It all begins with a song."

But how does that song get to where it needs to go to be heard?

The unsung hero behind these questions is the songplugger - the middleman whose domain lies between the realms of artists and songwriters. Some songpluggers are on staff at specific publishing companies; others represent individual writers or songs.

The best of them can change what America hears on the radio each week. By any measure, this select company would include the independent Sherrill Blackman, named Songplugger of the Year by Music Row magazine in 2004, 2005 and 2006, Dale Dodson of Sony/ATV Music Publishing, Tom Luteran of EMI Music Publishing and Abbe Nameche with S1 Songs, all of whom gathered one morning at CMA to share insights into an industry of limited visibility but inestimable importance to Country Music.

FIRST, LET'S ESTABLISH SOME CREDENTIALS. WHAT SONGS ARE YOU MOST PROUD OF GETTING RECORDED?

BLACKMAN: "Sinners and Saints" (J.B. Rudd, Vip Vipperman and Darryl Worley, recorded by George Jones), "I'll Get Even with You" (Coweta House, recorded by LeAnn Rimes) and "Maybe She Fell" (Pat Bunch and Georgia Middleman, recorded by Laura Bryna).

DODSON: "Broken Wing" (Phil Barnhart, Sam Hogin and James House, recorded by Martina McBride), "My Give a Damn's Busted" (Joe Diffie, Tony Martin and Tom C. Shapiro, recorded by Jo Dee Messina) and "Learning as You Go" (Larry Boone and Billy Ray Lawson, recorded by Rick Trevino).

LUTERAN: "It's Five O'Clock Somewhere" (Jim "Moose" Brown and Don Rollins, recorded by Jimmy Buffett and Alan Jackson) and "Honky Tonk Badonkadonk" (Dallas Davidson, Randy Houser and Jamey Johnson, recorded by Trace Adkins).

NAMECHE: "In My Daughter's Eyes" (James Slater, recorded by Martina McBride) and "Paint Me a Birmingham" (Buck Moore and Gary Duffey, recorded by Tracy Lawrence).

WHAT FACTORS DO YOU CONSIDER WHEN DECIDING WHICH ARTIST TO PITCH WITH A SONG?

BLACKMAN: It basically comes down to me being a detective and learning as much as I can about the artists and their upcoming projects. I try as much as I can to provide mid-to-up-tempo songs.

DODSON: I listen for vocal range. Also, I'll keep the subject of the song in mind and whether the artist will sing about that certain subject.

NAMECHE: You need to know the market, what's out there and what's on the horizon. And of course, you've got to know your catalog. With that information, it's a no-brainer. You've either got the right material or you don't.

HOW HAS THE MARKET FOR SONGS CHANGED SINCE YOU STARTED WORKING IN THE INDUSTRY?

BLACKMAN: For some of the newer artists, their influences come from a different perspective than the ones who grew up on George Jones and Merle Haggard. Now, sometimes a newer artist will say, "I'm looking for something like so-and-so," and I have no idea who they're talking about.

DODSON: I remember the "Class of '89," with Garth [Brooks] and Clint Black and Dwight Yoakam, when everyone got real Country. That really spun things around. But we're in a different time now. They're really gearing the music toward a younger demographic.

LUTERAN: It seems kind of split to me. You've got your Josh Turners over here, and then there's Rascal Flatts, and they're both doing very well.

NAMECHE: Non-traditional Country artists like Rascal Flatts have broadened the boundaries and grown the audience base, so that a wider variety of songs is accepted and being recorded in our format.

WHAT CLASSIC COUNTRY SONGS WOULD BE HARD TO SELL TODAY?

BLACKMAN: Just about any song with what I call "Standard Country Melody No. 3." Even though this is Country Music, songs still need to have a fresher, more contemporary semi-pop melody.

DODSON: Anything that's really traditional is hard to sell in today's market. But maybe with a new demo and a fresh vocal, they might work too.

LUTERAN: They might, if the lyrical quality is still there.

NAMECHE: "Stand By Your Man." Lame men aren't as popular as they used to be - after all, they're just men [laughter].

SHOULD SONGWRITERS WRITE WITH SPECIFIC ARTISTS IN MIND?

BLACKMAN: I always encourage writers not to, because if that artist doesn't like it, then every time you pitch it to someone else, they'll say, "That sounds like so-and-so." Then you have to drop your head and say, "Yeah, they passed [laughter]."

NAMECHE: And the writer tends to demo it exactly like they think the artist would record it, so it's impossible to disguise.

WHEN IS IT RIGHT TO INCLUDE THE SONGWRITER'S NAME WITH A PITCH TO AN ARTIST?

BLACKMAN: I write their name really big on the demo [laughs].

LUTERAN: The plugger will drop the name if it's a top writer. Absolutely. But it still needs to be a great song.

NAMECHE: I've heard of situations where someone will put an entire session of a particular writer on hold for an artist before they've even heard the songs, because the writer is so hot.

HOW HAVE CHANGES IN THE STRUCTURE OF THE MUSIC INDUSTRY AFFECTED YOUR WORK?

BLACKMAN: Two things come to mind. First, with singles staying on the charts longer and artists only doing an album every year and a half to two years, it's harder to keep writers from getting frustrated with the long gaps of catalog inactivity. Secondly, with so many artists trying to write, there are fewer available slots on most projects. So I've got to dedicate a certain amount of time to trying to set up co-writes with artists to even have a chance of being on their albums.

DODSON: Back in the '90s, there were more record labels with close to 40 artists on each roster. Now there are five major and a few independent labels. With the dramatic decrease in labels and artists, there are fewer possibilities of recordings.

LUTERAN: The digital age is here to stay. You have to adjust your style to fit it. You need to stay current on new technologies. You need to know more than just how to e-mail a song to a music user.

NAMECHE: Digital innovations have made the songplugger's job much easier. If you were pitching a song for an urgent New York or L.A. project only a few years ago, it required burning a CD, typing and printing a label, tray card and lyric, preparing a Fed Ex envelope and dropping the package before the pickup deadline. Now, whether the publishing emergency is in Timbuktu or right up the street, you just click and pitch.

WHAT, FOR YOU, ARE THE BEST AND/OR WORST ASPECTS OF THE SONGPLUGGER'S LIFE?

BLACKMAN: The worst part is when I can't find a home for a song I love.

DODSON: The worst part is the politics, but the best part of the business is having relationships with great people who love the music and hearing great songs.

LUTERAN: Being able to get new songs out to the music community.

NAMECHE: For me, the worst thing is when you feel strongly that a song has "song of the year" potential but it never makes it through the Music Row gantlet. And the best part is the thrill and challenge of the chase. Getting a cut these days is like winning the lottery. Faith that a great song will prevail is what keeps us motivated and enthusiastic.

   

Images for above article.

 
     
Dale Dotson, Tom Lutheran, Abbe Nameche and Sherrill Blackman.
Photo: Amanda Eckard / CMA

 

 

Issue Date: 3/4/2008  
Gary Allan: Living Hard One Song at a Time
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

The ascension of Gary Allan, back from a difficult period of emotional retrenchment and introspection, is welcome and familiar news throughout the Country Music world. But to the crowds gathered at Nashville's Sommet Center on the night of Nov. 30, 2007, it was an event to witness literally.

Reenergized and ready to reclaim his share of the spotlight, the singer/ songwriter emerged from an elevator in a tower planted onstage. Looking lean and primed for action in jeans and T-shirt, he delivered a 45-minute set filled with hits as well as new tracks from Living Hard, his seventh studio album on MCA Nashville.

It was a textbook lesson of how to open a concert, in this case for Keith Urban, whose world tour he had joined on Nov. 1 and would stay with through Dec. 16. There is an art to heating up the room for the main event - and Allan approached the challenge with the seriousness and authenticity he brings to recording and, especially on Living Hard, writing.

"Keith is a great guitar player, and he's hired two more gunslingers to tour with him," Allan explained, several weeks before he would hit the road with Urban. "Now, I can play, but I know he's going to outshine me in that. I'm going to have to bring my A game and a little raw, Waylon-style Country."

It's a different strategy than the one he conceived while opening for Rascal Flatts before more than a million fans throughout their 2006 trek.

"I actually tried doing the same thing at first on the Flatts tour, playing the raw and rugged tunes. But at the end of the day, their fans responded best to my recent hits. Keith draws more of an eclectic audience, so I think they'll expect me to switch it up a bit."

This thoughtfulness comes from a life devoted to combining professionalism with a passion for performance, going back to age 12, when Allan started playing with his father's band on the Southern California bar circuit.

"You can tell who grew up playing in clubs," he observed. "There's an interaction with the crowd that's not contrived or rehearsed. I feel like I've got that. I can proudly say that I'm not a product of the Nashville system. I'm not something that they made and spit out. I mean, I was offered my first deal at 15, but my dad wouldn't cosign it. He told me, 'If I let you do this now, you'll become whatever they want you to be. You need to play for the people that love you, the people that hate you and the people who could care less. Then you'll figure out how to play for yourself.'"

As a result, when he did finally come to Nashville in 1996 to cut his first album, Used Heart for Sale, Allan was already seasoned - and by his own admission, a little cocky.

"I had some heated arguments with [producer] Mark Wright. It wasn't because I had a chip on my shoulder; I just didn't realize that everybody wasn't making their own record. And that just didn't make any sense. It was impossible for anybody to tell me how my music should sound."

"Usually a brand-new artist isn't quite as sure of his identity as Gary was," Wright recalled, chuckling at the memory of their first sessions. "So I'm sure that somewhere in our conversation I said, 'This is how we do it here, son.' But then I realized that this guy has a voice and he knew what he wanted to do. There's a real artist living inside of him. I wouldn't have signed him if I didn't believe that. We just had to grow some trust between us, like, 'Hey, if that's what you really feel, if that's what's going to make you happy, then say it the way you want and I'll help you get there.'"

Wright serves these days as President of Universal Records South, but he's kept his seat behind the console open for all of Allan's albums, including Living Hard. On this one, they weren't able to get together for pre-production until just two weeks before sessions were to begin. But plenty of communication passed between them prior to that point, through e-mailed MP3 files of songs Wright thought would suit the album or that Allan was writing and demoing on his new Pro Tools system at home. So when "the tape began rolling," the situation was ideal: They had the tunes and yet the vibe was as raw as a late-night jam.

"I've switched my live show and hired more rock 'n' roll kinds of guys," Allan said. "It's more high-energy, much more in-your-face, much edgier. So when Mark saw that and heard the stuff I was writing, we all knew where we were headed."

More than his previous albums, Living Hard acknowledges the artist's current and longtime influences: Coldplay on "We Touched the Sun," the Police and U2 on "Learning How to Bend" and Tom Petty on "She's So California." "I even kind of sound like Petty on it," Allan admitted, laughing, and then sang one line - "She's a Deadhead" - with the rocker's familiar phrasing and intonation.

The new album represents Allan as a writer more thoroughly and revealingly than ever.

"When I first came to Nashville, Harlan Howard used to tell me that I could write but I didn't have anything to say," he remembered. "He said I needed to get married and divorced a few times, and since my wife passed, being able to talk about that . Well, first of all, my best friends were the ones who helped me through it. But those are also the guys I write with, and I feel like I can go into emotions a lot deeper and more authentically now. I guess I liked it better when I didn't have as much to say, but now I understand what Harlan meant."

This is apparent on "Yesterday's Rain," a co-write with James LeBlanc and Matt Warren. Right after singing "that's the only place I see your face," Allan's vocal pauses as the musicians continue playing until he comes back in a few seconds later. It's as if, in a moment of conversation, the feelings that surface make it difficult to talk until composure can be regained.

"That's exactly what it was," he revealed. "It was authentic. There were tears. I don't think I'll be able to sing that live. It's all the way real."

Yet that night at the Sommet Center, Allan seemed to achieve a communion with his audience that went deeper than the reach of entertainment. Speaking candidly, he introduced two songs - "Best I Ever Had" and "Life Ain't Always Beautiful" - as especially helpful in getting him past tragedy and on toward the affirmation epitomized by the title track of Living Hard, a bone-crunch embrace of a life dedicated to "livin' in the spotlight" and "chasin' dreams one song at a time."

The bottom line? "I'm OK," Allan said. "I've got a lot to say right now. And there's a whole bunch more coming."

On the Web: www.garyallan.com

   

Images for above article.

 

 

 
 
Gary Allan; MCA Nashville; photo: Tony Baker
Photo: See Caption

 

Gary Allan; "Living Hard;" MCA Nashville
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Gary Allan; MCA Nashville; photo: Tony Baker
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NEW ARTIST SPOTLIGHT: Ashton Shepherd
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

The first single from the new album by Ashton Shepherd tells us all we need to know about the soul of this 21-year-old singer and songwriter. On "Takin' Off This Pain," her voice is tough, tender and wise beyond its years and her gift for setting the stage for a song with simple eloquence is in full view.

Producer Buddy Cannon knows how to breathe life into images of hard times and good times. Throughout Shepherd's MCA Nashville debut, Sounds So Good, on 12 tunes, eight written solely by the artist and three co-written with Adam Cunningham, Cannon swirls heartbreak fiddle, last-call steel guitar and powerfully assertive and expressive vocals into a neon-bathed tour de force.

From the twang in Shepherd's tone throughout "I Like Being Single" and the pain in her stretched-out phrasing on "Whiskey Won the Battle," you know that this Coffeeville, Ala., native has been there, done that and earned the right to write and sing about it with an almost startling conviction.

Raised in a flyspeck town of 360, Shepherd won her first talent contest at age 8, appropriately with a couple of Patsy Cline tunes. Her parents funded recording and manufacturing for 1,000 copies of her first album at 15. She won another contest at 16 that earned her an opportunity to open for Lorrie Morgan - and that in turn inspired a producer in the audience to invite her to Nashville. One connection led to another, the result being this remarkable album, rooted deep in tradition and reaching past that Alabama horizon toward an assured and enduring career.

IN HER OWN WORDS:

MUSICAL HEROES
"Keith Whitley and Dolly Parton."

SONG YOU WANT TO COVER
"'Fishin' in the Dark,' by The Nitty Gritty Dirt Band."

CD ON YOUR STEREO
"Vern Gosdin."

DREAM DUET PARTNER
"Alan Jackson."

SONG YOU WISH YOU WROTE
"'He Stopped Loving Her Today.'"

SONG YOU SING IN THE SHOWER
"That's actually where I write a lot of songs."

MOMENT TO RELIVE IF YOU COULD
"Holding my son James for the first time."

WHEN THEY LOOK BACK ON YOUR LIFE IN 50 YEARS, WHAT DO YOU HOPE PEOPLE SAY ABOUT YOU
"I hope they say I will always be remembered by the songs I write and the music I create."

On the Web: www.ashtonshepherd.com

   

Images for above article.

 
     
Ashton Shepherd; MCA Nashville; photo: Danny Clinch
Photo: See Caption

 

 

 

 

Issue Date: 2/26/2008  
bullet 
Taylor Swift is Not 'Just a Girl' Anymore
By Holly Gleason

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.
 
It's hard to believe a year and a half ago I sat in a building that'd be my label, where the walls weren't even painted, and we were stuffing envelopes with what would be my first single," said Taylor Swift with the "aw shucks, hey world" enthusiasm that defines her suddenly high-profile personality. "We were just hoping people would listen to a song called 'Tim McGraw.'"

They've done more than listen. With more than 40 million MySpace streams as of Feb. 16, three singles slammed into the Top 6 like home runs into bleachers ("Tim McGraw," "Teardrops on My Guitar" and the six-week, chart-topping "Our Song") and a self-titled album that spent 15 weeks at No. 1 on Billboard's Top Country Albums chart, audiences and listeners are diving headfirst into the current unleashed by Swift, the first female solo artist in Country Music history to write or co-write every song on a double-Platinum-selling debut album and the youngest person to write and sing a No. 1 Country single ("Our Song") wholly on her own. In January, she reached new sales milestones with the digital Platinum certification of "Teardrops on My Guitar," and digital Gold of "Our Song." Swift joins an elite group of superstars with her digital Platinum status, as the only other Country artist to achieve this level of certification are the Dixie Chicks, Rascal Flatts and Carrie Underwood.

"I realize I am a business," conceded the 5-foot-11-inch blonde who gushed "This is definitely the highlight of my senior year!" upon winning the Horizon Award at the 2007 CMA Awards. "I'm lucky to have that. It changes the way you look at things. But I know I'm not 25. I'll have a whole year to be 25 when I am. So as much as I love to talk about business, I'm still 17."

But Swift's years, risen to 18 since the Awards broadcast, overflow with a lifetime's worth of adventure. One has to study Hannah Montana to see anything even remotely like what she has experienced: Swift was just 11 when, having dragged herself to writer nights and karaoke contests back home in Wyomissing, Pa., she followed the stars in her eyes to Nashville. At 13 she secured a development deal with the RCA Label Group and, at 14, became the youngest writer in the Sony/ATV Music Publishing stable.

"I felt set apart," she admitted. "After high school, my friends were going to sports or cheerleading, and I was being driven to a songwriting appointment. But, you know, I'd go sit with my co-writers and talk about what had happened at school that day."

Writing was Swift's salvation during those awkward years. She came up with "Teardrops on My Guitar" when the ache for the guy-she-liked-who-liked-her-friend became unbearable and "Wrapped Up with a Smile" when she was concerned over a pretty "perfect" friend who was masking her bulimia.

"High school is a different universe," she observed. "It's 10 times more dramatic than anything you'll see in a public place. There's an energy when everybody's dressing up for homecoming, when everyone's crying in the hallway because somebody's boyfriend dumped her. Being young gives me a platform to speak for people my age."

"Every Tuesday at 4:00," said Swift's frequent co-writer Liz Rose, SESAC's 2007 Songwriter of the Year, "Taylor would walk into Jody Williams Music as a high school kid, go up those stairs, close the door and say, 'I have an idea.' She wrote the truth, all the things kids are living. She put it all out there - and the boys buy her records just as much [as the girls] because they've been Drew," the guy immortalized by "Teardrops on My Guitar." "They've hurt girls. They know."

More than that, it isn't just kids who tune into Swift; her ability to articulate vulnerability in her lyrics has earned respect throughout the Country community, to the degree that she tied Alan Jackson for the 2007 Songwriter/Artist of the Year honor from the Nashville Songwriters Association International. And for all the stories of her MySpace page launching the Swift juggernaut, an old-fashioned, carefully orchestrated radio campaign also had a lot to do with it.

"I got into MySpace because my friends were all about it," she said, laughing. "It's how we communicate. I didn't want people to think my MySpace was something a record company did as a promotion thing. But letting people in, letting them know who you are, is a good thing.

"We put out 'Tim McGraw' because we wanted something we knew people would listen to, if only to see what it was," she continued. "All I wanted was for people to give me a shot: Let me play in your conference room or be on your morning show."

Six months of setup and then patiently working her first album, tours with McGraw, Brad Paisley, George Strait and Rascal Flatts, videos that juxtaposed teen fantasy indulgence with real girl innocence - and all of it was Swift, a young woman who understood absolutely the importance of not watering down her identity.

"You have to be very picky about what you put out," she said. "Those songs show you as a person. I love my label because if I said to Scott [Borchetta, President/CEO, Big Machine Records], 'I know this is a No. 1 single but I don't want it on my record,' he'd say 'OK.' That's why this works."

"Taylor is incredibly smart and able to tap into what's going on," said Robert Deaton, CMA Awards producer and Co-owner/Director, Deaton Flanigen Productions. "She reminds me of Reba: She has this innate ability to put across exactly who she is. That's very rare at any age.

"And she's unafraid."

She's also very musical. In December 2007, she returned to the studio with producer Nathan Chapman, this time as co-producer. "I have a lot of ideas," she said and began running them off. Her indefatigability is surpassed only by the focus and intensity of her talent.

"We wrote every Tuesday until it got so crazy," Rose remembered. "And even then, when she had a day off, Taylor would call and say, 'Wanna write?' I swear, I don't know when she doesn't have a guitar in her hand."

Lots of young people dream of fame, fortune and screaming fans. Swift's dreams were always bigger, embracing the work as well as the enjoyment of the payoff. Most of her peers don't include visits to every radio station in the country, in multiples of three to eight a day, in their fantasies or fame, or begging for a chance, or trying to keep up with schoolwork amidst the writing, the concert dates and the fans whose numbers seem to grow with each show and each new day of airplay.

"To get to go out there and meet these people," she said, ticking through the hallmarks of what has become her life. "Getting to meet those guys at Country radio, who are my heroes . to give my label, which is only two years old, their very first CMA Award . you think about those things, but it's just so much."

For now. But forever? Based on the momentum and energy, intelligence and enthusiasm, how far Swift has come and how far she sees when scanning the years to come, not to mention her willingness to chronicle the reality of coming-of-age in the 21st century for everyone to hear, just about anything seems possible.

On the Web: www.taylorswift.com

   

Images for above article.

 

 

 

 
Taylor Swift; Big Machine Records
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Taylor Swift; photo: MelindaNorrisphotography.com
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Taylor Swift; photo: Kristin Barlowe
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Taylor Swift; photo: MelindaNorrisphotography.com
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Educational Opportunities at CRS
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

Country radio, like the music it champions, is in a state of transition, adjusting to changes in areas as fundamental as technology and whimsical as listener tastes. But unique advantages and opportunities come with this format too, particularly in the affection for this music that strengthens through the years.

For Ed Salamon, this is where the agenda for this year's Country Radio Seminar (CRS) begins.  The 39th annual CRS takes place Wednesday, March 5 through Friday, March 7, at the Nashville Convention Center in Downtown Nashville. As Executive Director of Country Radio Broadcasters (CRB), which hosts the annual summit of radio personalities and executives, artists, record label associates and others in the Country Music industry, he sees CRS as being about learning through the experiences attendees share through interactions with their peers as well as from panels throughout the three-day event.

A member of the Country Radio Hall of Fame, a legendary programmer in various formats, a co-founder of United Stations Radio Networks with Dick Clark and President of Programming at Westwood One before assuming his current office at CRB, Salamon is uniquely equipped to reflect on how the state of his industry will be assessed at CRS.

WHAT WILL BE THE HOT-BUTTON ISSUE AT CRS THIS YEAR?

One of the biggest issues is Arbitron's radio rating system, which is changing from a diary-based system to electronic measurement through the Portable People Meter (PPM), which can track, for example, how many listeners tune out when a specific song is played, or how many tune in when they know a contest will be played. Radio has never had that detailed information before. This will affect the way radio stations look at their programming. And obviously, if the programming process is altered, it's going to change the opportunities for the music industry.

WHAT EFFECT DO YOU SEE THE PPM HAVING ON THE COUNTRY MUSIC INDUSTRY?

That discussion will be had in sessions at CRS, where programmers in the audience will discuss with Arbitron and with each other. It is exciting that this is a time of change for both radio and the music industry. Those who attend CRS
and the Portable People Meter panels in particular will have absolutely the best understanding of how it will affect the industry.

THE FIRST CRS TOOK PLACE IN 1970. WHAT ACCOUNTS FOR ITS LONGEVITY?

There were lots of other industry conventions, both general and format-specific, when CRS was created. At that time, Country was an underdog format, with only about 600 fulltime stations. Since then, Country has grown to be America's dominant format, with more than 2,000 stations, but we have still kept that sense of community that we had back then. Of course, the health of radio is important to everyone in the music industry because it is still the primary medium for the exposure of music. From conversations I've had with people in retail, radio is even more influential in purchasing decisions for Country Music than it is for other formats.

WHY IS THAT?

Country listeners have a great bond with their radio stations for a number of reasons, not the least of which is that the personalities in Country radio tend to be important to their listeners. In fact, it's not only music that Country radio sells;
Country radio is a great medium for moving all types of products, as those who sell radio advertising can attest.

HOW, THOUGH, DO YOU DEFINE "COUNTRY RADIO" THESE DAYS? IS IT STILL CONSIDERED TO BE EXCLUSIVELY A BROADCAST MEDIUM?

Country Radio Broadcasters embraces all broadcasters, regardless of their medium. But when you look at any of the other technologies, whether satellite or online, over-the-air broadcast still dominates, by far. In fact, more than 90 percent of Americans listen to traditional broadcast radio. Radio has been around since about 1920, and a lot of additional media have come along since that time and vied for the attention of listeners. Considering the number and variety of alternatives that are available to today's listeners, radio continues to do quite well.

DOES SATELLITE RADIO THREATEN LOCALISM IN RADIO?

On the contrary, localism can be the major difference between traditional radio and the new national and international audio mediums. Local radio can provide personalities, information, promotions and public service that focus on its specific markets. Over-the-air, free radio is so dominant that it certainly isn't in any imminent danger. On the other hand, there is plenty of room for satellite radio, Internet radio and audio programming on cell phones to grow. The important thing is that the Country Radio Broadcasters embraces it all.

   

Images for above article.

 
     
Ed Salamon, Executive Director, Country Radio Broadcasters. photo: Scott Graham
Photo: See Caption

 

     

CRS Panel "Woman to Woman" Not Just for Women
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association®, Inc.

Scheduled for 11 AM on Thursday, March 6, the CRS "Woman to Woman" panel packs an imposing lineup of participants. Chaired by Kelly Ford, co-host of "Kelly, Mudflap & JoJo" on KYGO/Denver, the discussion will include ASCAP Senior VP Connie Bradley; Laurie DeYoung, host of the CMA Broadcast Awards-winning "The Laurie DeYoung Morning Show" on WPOC/Baltimore; Mary Quass, President and CEO of NRG Media LLC; Meg Stevens, PD at WPOC/Baltimore and WMZQ/Washington, D.C.; Julie Talbott, Executive VP for Affiliate Marketing at Premiere Radio Networks; and CMA CEO Tammy Genovese.

In the words of the CRB's panel description, "Woman to Woman" is intended to "give attendees a chance to network with those who have made it to the top of the class," who in this case happen to be among the most influential women in the music industry.

For Ford, a three-time winner of the CMA Broadcast Personality of the Year Award for Major Markets, it's important to acknowledge the differences that women can bring to executive and on-air positions. "Now, I have my Type A side too," she said, laughing. "But we are different. And different can be good. We tend to look for solutions instead of conflict. Look at Tammy: She epitomizes everything that's real and authentic about bringing people together. I'm proud, as a woman, of what she has accomplished."

Where does this leave the men as far as "Woman to Woman" is concerned? "Well, it's like women who read Men's Health and men who read Cosmo," Ford answered. "The smart ones will be at that panel."

For tickets, call CRB at (615) 327-4487 or register at www.crb.org.

   

Images for above article.

 
     
Kelly Ford, Radio Personality, KYGO/Denver. photo: Expressions by Sandy Puc
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CRB Honors Radio Legends
By Bob Doerschuk

 

On Tuesday, March 4, the evening before CRS officially opens, CMA and Radio & Records will co-sponsor a dinner and ceremony at the Nashville Convention Center to honor Bill Cody and Bob Robbins, this year's inductees into the Country Music DJ Hall of Fame, and Jaye Albright, Bobby Kraig and Michael Owens, new members of the Country Music Radio Hall of Fame.

For tickets, call CRB at (615) 327-4487 or register at www.crb.org.

   

 

CRS-39 Welcomes "New Faces of Country Music"
By Bob Doerschuk

 

CMA is proud to join with Radio & Records in co-sponsoring the "New Faces of Country Music" reception beginning at 5:30 PM and dinner following at 6:30 PM on Friday, March 7, in the lower-level Performance Hall at the Nashville Convention Center. Artists scheduled to perform 20-minute sets at the dinner include Luke Bryan, Jason Michael Carroll, Bucky Covington, Jake Owen and CMA Horizon Award winner Taylor Swift. The five "New Faces" were chosen by registrants at last year's CRS on the basis of having achieved significant success at Country radio during the qualification period.

For tickets, call CRB at (615) 327-4487 or register at www.crb.org.

   

Images for above article.

 

 

 

 
Luke Bryan; Capitol Records Nashville; photo: Jeremy Cowart
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Jason Michael Carroll; Arista Nashville; photo: David Johnson
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Bucky Covington; Lyric Street Records; photo: Kristin Barlowe
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Jake Owen; RCA Records; photo: Chapman Baehler

 

 

Issue Date: 1/29/2008  
A&R for Hire: Scouting Talent in a Changing Industry
By Edward Morris

 

® 2008 CMA Close Up News Service / Country Music Association®, Inc.

As major record labels evolve plans for sailing toward their goals on uncertain seas, and as independents seek to compete with music industry giants, a new breed of entrepreneurs is finding ways to identify talented artists and help find their paths toward success.

Some of these visionaries are dedicated to providing the A&R services that are indispensable yet not always easy to accommodate in ever-tightening budgets. These services include helping a new artist develop a distinctive voice and image, find the right songs to record, do preproduction work or even produce finished albums, assemble support teams and help negotiate recording and publishing contracts and allied legal agreements.

But why stop there? They may also represent labels, managers, publishing companies or any combination of the three. It is, in other words, a wide-open field in which the job description expands to fit the client's needs.

Signs of this emerging trend surfaced last May, as Artist & Repertoire, LLC opened its doors in Nashville, with Music Row veterans Jeff Teague, President, and Tom Long, VP, at the helm. Teague, who spent five years as GM and VP of A&R for Word Records Nashville before becoming Creative Director/Producer at Nashville's Seventeen Grand Studios, described Artist & Repertoire as ready to handle the "overflow" of A&R functions brought on by major label consolidation and indie label startup.

"When the labels come together, there are, in some cases, five, six or seven divisions that at one point had their own A&R departments," he said. "So they combine all those under one banner to save money. Even if half the acts that were on those individual labels are let go, those labels still end up with a huge roster."

And each act in that roster, Teague pointed out, has A&R needs that might best be handled by a firm like Artist & Repertoire. "Majors don't have to provide us a desk, salary, computer or health insurance policy. They buy those needs as they arise on an à la carte basis."

Indie labels have special requirements of their own that include scouting for new acts, finding appropriate songs for them and working to develop an artist's "core image" - all of which can be addressed by a freelance A&R provider. Currently, for example, Artist & Repertoire has a consulting relationship with NuSpring Records, a new label with several acts in development. Headed by Paul Wright, whose history includes work with Zomba and Sony BMG Distribution System, NuSpring will shortly be announcing a high profile artist signing, brought to them via Artist & Repertoire.

"People have been calling us, [including] artists that have lost their [record] deals or people who are looking to attract deals and want direction," said Long, who partnered with Teague after serving for 10 years as Director for Membership at ASCAP Nashville, running Balmur Music for Anne Murray and then providing catalog management for Sony/ATV Music Publishing from 2001 to '06. "We consult with them on the creative and business side, provide preproduction or actually produce complete albums for them."

The company's other services include networking with managers, publicists, media trainers, photographers and other essential players in an artist's career strategy. They also run in-house music publishing companies, Rich 'N Rare Music (ASCAP) and Rare 'N Real Music (BMI). Their cornerstone writer, Daryl Burgess, has already scored a Van Zant cut with "The Hardest Thing," co-written with Thom McHugh from Clint Black's Blacktop Music.

The lesson to draw from their performance over this past year is, according to Teague, that "the industry doesn't need another song, it needs another hit song. It doesn't need another singer, it needs another artist."

That conclusion hasn't escaped the attention of TAXI, though this Los Angeles-based A&R behemoth approaches its mission from a different angle. Rather than hiring out directly to record, management and publishing companies, TAXI works exclusively with songwriters and artists, charging them an annual fee to act as their representatives. TAXI's Web site documents successes they've facilitated with their clients, two of which should resonate with Country Music audiences.

Elliott Park, for one, benefited from TAXI's help in securing his publishing deal with Nashville's Extreme Writers Group, where he co-wrote "I Loved Her First," a No. 1 hit for Heartland.

"I was a publisher at Windswept prior to coming here," said Cliff Audretch, referring to his current position as Senior Director of A&R for Universal Records South. "I actually tried to sign Elliott but then TAXI took him to Extreme. Now, once or twice a year, I will get a compilation from TAXI with what they feel are the best 12 songs they've screened for our market over the last six months. And I'll listen to it, absolutely."

Then there was the team of Jim Funk and Erick Hickenlooper, who had never made a serious attempt to get their songs recorded before spotting a TAXI ad in a magazine.

"We went to a TAXI songwriting convention," Hickenlooper explained, "and all the songs that were being played there were getting pretty heavily critiqued by the audience. When our song came on, I braced myself, thinking we were going to get hammered. But to our surprise, when the song grew to an end, the congregation of songwriters erupted in applause and then in a standing ovation."

With that, the chain of connections began, leading from TAXI to an independent publisher to Kenny Rogers, for whom that song, "Buy Me a Rose" became his first No. 1 Country single in 13 years.

"Record labels, publishers, ad agencies and music supervisors working in film and TV call TAXI and tell us what they need," explained the company's Founder and President/CEO Michael Laskow. "We blast that info out to our members. But we keep the company name and contact info private. Our members - 12,000 songwriters, bands, artists and composers in nearly 100 countries - respond when they see something that's a good fit for the music they've got. Our A&R team screens each and every submission for each listing, and we forward the material that's right on target stylistically and of high quality. If the label or publisher is interested, they contact the writer/artist directly and play 'Let's Make a Deal.'"

Laskow estimated that TAXI's Web site www.taxi.com generates about half of their business, with the other half coming from magazine ads, seminars and "various other forms of marketing, both online and by direct mail."

Each member pays annual dues of $299.95 and is admitted free with a guest to the company's annual Road Rally, a three-day networking and educational seminar.

TAXI opened for business 15 years ago, enough history to qualify it as being definitely ahead of its time. Even so, for some potential clients, independent A&R hasn't quite made its case.

"If you've got enough product and enough things to do, it's wonderful," said George Collier, President, Aspirion Records Group. "But we put out probably 20 CDs a year, and a lot of our stuff comes in finished and we license it from people. As for actual A&R duties, last year I believe we did maybe six real recordings."

Still, with the flow of would-be artists showing no end, and with the economics of the industry stepping up the appeal of outsourcing for both major and startup labels, the model pioneered by TAXI and Artist & Repertoire is well worth watching.

On the Web: www.artistandrepertoire.net, www.taxi.com

   

Images for above article.

 

 
   
Staff at Artist & Repertoire, LLC Jeff Teague, President; Daryl Burgess, songwriter with Artist & Repertoire's Rich 'N Rare Music Publishing; Kristy Bingham, Executive Assistant; and Tom Long, VP. Photo: Lee Ann Burgess
Photo: See Caption

 

Michael Laskow, Founder and President/CEO, TAXI; Photo: Jim DiModica
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NEW ARTIST SPOTLIGHT: Chuck Wicks
By Bob Doerschuk

 

® 2008 CMA Close Up News Service / Country Music Association®, Inc.

Next time you pull up to a restaurant in Nashville, look carefully at the valet: That person who took your keys today might be signed to a major record label deal tomorrow. That's what happened with Chuck Wicks, who came to Nashville after growing up on a farm near Smyrna, Del., and attending Florida Southern College.

His dream had been to play pro baseball, but by the time he'd reached his senior year Wicks had traded his bat and glove for a ticket to Nashville. A parking gig paid the rent and bought the time he needed to hone his writing through collaborations with Monty Powell, Rivers Rutherford, George Teren, Neil Thrasher and the Mobley brothers, Mike and Wendell.

Wicks eventually steered himself into a contract with RCA Records, for whom he recorded his debut album, Starting Now, produced by Dann Huff and Powell. As co-writer of all but one of its 11 tracks, Wicks displays a style that's expressive and accessible. On the first single, "Stealing Cinderella," he shows particular sophistication as he switches perspectives, from his own to that of the father of the girl he hopes to marry; through lyrics that pass by like snapshots in the pages of a photo album, he fuses these viewpoints into one vivid picture.

Wicks' baritone voice brings these top-notch tunes to life, pouring like honey over occasional patches of sandpaper. It's the kind of voice that's sure to put Wicks in the driver's seat from now on.

IN HIS OWN WORDS:

SONG YOU WANT TO COVER
"'One Last Cry,' by Brian McKnight."

SONG YOU WISH YOU WROTE
"'I Will Always Love You.'"

BOOKS ON YOUR NIGHTSTAND
"The Bible and Us Weekly.

CD IN YOUR STEREO
"I just finished my record so, sadly, I've been listening to myself, looking for mistakes. Oops, just found one. I'm a perfectionist."

LUCKY CHARM
"My faith."

TITLE OF YOUR AUTOBIOGRAPHY
"Why Me?"

YOUR MUSICAL HERO
"I grew up listening to what we now call the '80's station. and was influenced by all kinds of music. Whether it was Chicago, Journey, Alan Jackson, Garth Brooks or one of my favorite singers, Brian McKnight. So I guess my musical hero was just great music.

YOUR PET PEEVE
"Negative people."

WORD OR PHRASE YOU REPEAT OVER AND OVER AGAIN
 "Awesome."

MODE OF TRANSPORTATION YOU PREFER
"Private jet even though I've never been on one yet . but I do drive a Truck."

MOMENT IN YOUR LIFE WOULD YOU RELIVE IF YOU COULD
"Nothing. I love to remember and then look forward to the future."

On the Web: www.chuckwicks.com

   

Images for above article.

 
     
Chuck Wicks; Photo: Joe Hardwick
Photo: See Caption

 

     

NEW ARTIST SPOTLIGHT: Laura Bryna
By Bob Doerschuk

 

® 2008 CMA Close Up News Service / Country Music Association®, Inc.

While attending high school in nearby Mount Airy, Md., Laura Bryna performed in Washington, D.C., with the South African vocal group Ladysmith Black Mambazo and took classes at the Kennedy Center's Summer Drama Workshop. As an undergrad at Philadelphia's University of the Arts, she considered careers in archeology or anthropology and somehow found time to become fluent in French.

Yet she set all that aside and moved to Nashville, partly because of the comfort Country Music had offered during the six months her older brother spent in a coma, induced by a brain aneurysm, at age 13, which followed the sudden death of their father. Once settled, Bryna juggled music studies at Belmont University, internships at Sony/ ATV Music Publishing and DreamWorks Music Publishing and volunteer work for the Make-A-Wish Foundation, a commitment she honors on her first single, "Make a Wish," in which innocence and generosity trump the sadness in an ailing child's life.

All of which leads to Trying to Be Me, her Equity Music Group debut album, produced by Roger Sarchet, with Kyle Lehning co-producing three of its 12 tracks. The optimism of "Make a Wish," her sole co-write on the album, spills into "Life Is Good," whose message is as appealing as its title. And "640 Battlefield Drive" tells a wartime story told too often, involving a mother, her soldier sons and a life-changing letter.

Bryna's performance, ambitious and deep, sophisticated yet rich in down-home authenticity, shows that she's already succeeded.

IN HER OWN WORDS:

A PHRASE YOU REPEAT
"Super-fantastic."

ACTRESS TO PORTRAY YOU IN A BIOPIC
"Bette Midler or Dolly Parton."

MODE OF TRANSPORTATION YOU PREFER
"Anything that can get me from Point A to Point B."

BOOKS ON YOUR NIGHTSTAND
"Believe and Achieve by various authors; Always Believe in Yourself and Your Dreams by Patricia Wayant; and Success One Day at a Time by John C. Maxwell."

TITLE OF YOUR AUTOBIOGRAPHY
"Countrypolitan Laura Bryna: The Gal with Big Hair Who Does It All in Heels."

On the Web: www.laurabryna.com

   

Images for above article.

 
     
Laura Bryna; Photo: Dana Tynan
Photo: See Caption

 

 

 

Issue Date: 1/22/2008  
The Derailers and Dwight Yoakam Remember Buck Owens
By Deborah Evans Price

 

© 2008 CMA Close Up News Service / Country Music Association, Inc.

If imitation is the sincerest form of flattery, then inspiration is the highest form of creativity. Both elements come to play in two recent albums that achieve their excellence through celebrating the late County Music Hall of Fame member Buck Owens.

On Dwight Sings Buck, released by New West Records, Dwight Yoakam, a longtime Owens friend and collaborator, offers 15 songs that include such classics as "Act Naturally," "Together Again" and "My Heart Skips a Beat." And Palo Duro Records has issued Under the Influence of Buck by The Derailers, the Austin-based band forged on its founders' appreciation for Owens. "I've Got a Tiger by the Tail," "Cryin' Time" and "Love's Gonna Live Here" are among the 13 tracks featured on that album.

The son of a Texas sharecropper, Owens was the most prominent proponent of the "Bakersfield Sound," whose crisply picked Fender guitars, honky-tonk beat and rugged but tuneful vocals were transported from California's Central Valley to the world in large part by the success of Buck Owens and his Buckaroos.

On Yoakam's second album, Hillbilly Deluxe, released on Warner Bros./Reprise Records in 1987, he honored that sound with the single "Little Ways." "It started with a very deliberate reference to Buck in the phrasing of the opening line when I pushed the time," he said. "I had dedicated the song to him and he was aware of that. The label knew I was playing the Kern County Fair, and Warner Bros. set up a meeting at Buck's radio station. We hit it off, and he agreed to come out to see us at the fair. We got him to get up onstage with us. That was the first time he had done that in a long, long time."

Before long Yoakam and Owens recorded a hit duet, "The Streets of Bakersfield," which helped establish a friendship that lasted until Owens' death on March 25, 2006 - just four days after the two had shared a four-hour phone conversation. "He was talking about writing his memoirs," Yoakam recalled. "He was also talking about wanting to do more bronze statues for the Crystal Palace [Owens' concert venue in Bakersfield]. He literally was talking the future, for the most part. I could never imagine four days later he would not be here."

Up to that point, out of respect, Yoakam had never played his mentor's songs, except when playing "Streets of Bakersfield" as an encore or backing Owens onstage. "After he died, we were in Orlando, Fla., to perform," Yoakam said. "And I said, 'We should probably do two or three songs in memory of Buck for a couple of weeks.' For my audience and those members of my audience that were fans of Buck's, we allowed them the opportunity to say goodbye with us."

Those performances led toward recording Dwight Sings Buck. "The band and I were in a rehearsal studio," Yoakam said. "We would begin each song by hearing Buck's original arrangements, and then I would listen to a work tape that we had of what we just did and think through ideas, variations and things. The most distinct arrangement is probably 'Only You.' I hope I captured an underlying spirit in what that song was. And, of course, the first single, 'Close Up the Honky Tonks,' is a very distinct arrangement. This album was a happy experience, every moment of doing this record."

Yoakam and New West Records will donate a portion of the proceeds from Dwight Sings Buck to the Buck Owens American Music Foundation, a charity dedicated to preserving the Bakersfield Sound and the legacy of Owens.

That legacy impacted, among many other artists, The Beatles, whose cover of "Act Naturally" caught the young Brian Hofeldt's attention. "I was about 7 years old," the future Derailers singer and lead guitarist remembered. "I'd sit down at the piano and try to bang out 'Act Naturally,' and my folks said, 'You know, that's actually a Buck Owens song.' And I went, 'Buck Owens? The guy from "Hee Haw"?' I didn't know, but I thought if The Beatles liked him, I'm going to listen to as much as I can. Buck Owens really stuck with me. I just loved his delivery and his songs. That guitar sound was just so stunning and sparkling and clear. It really spoke to me."

The Derailers met Owens in 1995. "Our friend Casper Rawls had a Buck Owens birthday bash every year in Austin at the Continental Club," Hofeldt related. "In 1995, he finally talked Buck into coming down to visit. Buck stood back in the corner, and when we got up onstage to do our Buck songs in the show, he came up and stood right in front of us. He was visibly touched because we had paid such direct homage to his music and even [by] the way we dressed and presented ourselves."

Four years later, Owens invited The Derailers to be the house band for his 70th birthday bash at the Crystal Palace. The back cover of Under the Influence of Buck shows him standing in front of the stage that night, watching The Derailers and smiling. Later he joined them in the studio to record "Play Me the Waltz of the Angels," which appears on their 1999 album Full Western Dress.

Remembering that session, Hofeldt recalled Owens telling them, "'It's interesting you guys picked this song to involve me with. I'd actually played guitar on the original Wynn Stewart version.' It was a real full-circle thing for him. Of course, it was just an amazing, wonderful experience for us to be involved in a recording with Buck Owens. I can't say enough nice things about how supportive he was to us over the years."

In recording Under the Influence of Buck, Hofeldt said, "we did adhere pretty close to the arrangements that Buck and his Buckaroos and Ken Nelson, Buck's producer, laid out for those songs. For so many years, we've been playing those songs like that, and another thing is that the sound is so specific and so unique and such a part of what we've taken as a part of our sound that we really wanted to, in tribute to Buck, play that sound the way it was. We felt we were approaching what we were doing in a way that Buck would be proud of. We had him on our minds the whole time."

Both Yoakam and Hofeldt have benefited from their friend's advice. "One thing I really remember is he said, 'Don't be afraid to entertain the idea of doing an outside song from another songwriter,'" Hofeldt recalled. "He said, 'I have my own publishing company and I'm doing well with it. I wrote most of my own songs. But I never would have gotten my first No. 1 if I hadn't gotten "Act Naturally,"' which was written by Johnny Russell and Voni Morrison.

As for Yoakam, the most valuable lesson imparted by Owens was "to cherish the opportunity that I've had to make a living performing music. Watching him enjoy what he was doing to the very end of his life, that makes it a great lesson."

Owens actually performed at the Crystal Palace on the night he died. Shortly after ending his show, he encountered some late arrivals who had just made it down from Oregon and without hesitation went back to sing some more for them. "He played a short set and ended with 'Big in Vegas,'" Hofeldt said, noting the song that closes The Derailers tribute album. "That was the last song that Buck ever performed. To the end, he was the ultimate entertainer."

On the Web: www.buckowens.com; www.derailers.com; www.dwightyoakam.com
 

   

Images for above article.

 

 

 

 
Dwight Yoakam; "Dwight Sings Buck;" New West Records
Photo: See Caption

 

Buck Owens and Dwight Yoakam; Photo courtesy of Dwight Yoakam
Photo: See Caption

 

The Derailers; "Under the Influence of Buck;" Palo Duro Records
Photo: See Caption

 

The Derailers entertain Buck Owens and the audience at the Continental Club in Austin during Owens' 66th birthday celebration on Aug. 13, 1995. Photo: Martha Grenon
Photo: See Caption

 

NEW ARTIST SPOTLIGHT: The SteelDrivers
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association, Inc.

That old saying about the whole being greater than the sum of its parts may or may not apply to The SteelDrivers. It sounds true, though, when you spin the band's self-titled debut album, a set of 11 originals that sound like they've been carved in wood and left in the hills to weather and age. Playing with a breezy virtuosity, these five musicians interact, keeping tempos down to the point they can bounce ideas around spontaneously and allow listeners to hear what's happening.

A dynamic and organic ensemble, The SteelDrivers are also a stellar collection of individuals. Banjo player Richard Bailey, bassist Mike Fleming, mandolinist Mike Henderson, fiddler Tammy Rogers and guitarist Chris Stapleton, all of whom except for Bailey contribute vocals as well, each boasts impressive session credits, from a long line of Country colossuses to Neil Diamond, Bo Diddley, Al Green and Sting.

The SteelDrivers deliver a powerful statement on their album on Rounder Records. Co-produced by Luke Wooten with the band, it offers fireworks but concentrates on framing Stapleton's rugged singing on the spirit-haunted "Blue Side of the Mountain," wafting them through the churning rhythm of "Drinkin' Dark Whiskey" and hitting the power-chord riffs in the verses to "Midnight Train to Memphis." And when the four-part harmonies kick in, the effect is smooth and raw at the same time, a blend as mysterious as the riddle of how five strong talents do add up to making this single and indelible impression.

IN THEIR OWN WORDS:

MUSICAL HERO
Mike Henderson: "Ray Charles."

SECRET DREAM DUET PARTNER
Tammy Rogers: "Emmylou Harris."

BOOK ON YOUR NIGHTSTAND
Richard Bailey: "Ava's Man, by Rick Bragg."

SONG YOU WISH YOU WROTE
Chris Stapleton: "'What a Wonderful World.'"

A PHRASE YOU REPEAT
Mike Fleming: "'Hell is Real,' a billboard sign on I-65 just outside of Louisville, strategically placed across the road from the adult truck stop."
 

   

Images for above article.

 
     
Steeldrivers; Rounder Records; Photo: David McClister
Photo: See Caption

 

     

Hank Thompson: 1925-2007
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association, Inc

If Bob Wills was the Henry Ford of Western swing, then Country Music Hall of Fame member Hank Thompson was responsible for streamlining this vehicle before sending it out, over the airwaves, through international sales of more than 60 million recordings and in countless shows from coast to coast and border to border.

With his relaxed baritone coasting on the rhythm laid down by his band, the Brazos Valley Boys, Thompson cultivated an instantly recognizable style. His songs became essential listening in jukeboxes, on truck drivers' radio dials and on set lists for every band in search of a roadhouse gig. His career spanned six decades before ending with a final show on Oct. 8, proclaimed "Hank Thompson Day" throughout Texas, a little more than a month before his death.

That show took place, appropriately, in Waco, where he had been born on Sept. 3, 1925. Thompson's talent and showmanship were evident during his high school years, when he called himself "Hank the Hired Hand" and appeared regularly on the local radio station WACO. He left his home after graduation to join the U. S. Navy, but while stationed in San Diego and even aboard ship on his way to the South Pacific, Thompson continued entertaining friends and fellow sailors.

His interest in electronics earned Thompson an opportunity to host radio shows over military stations and steered him into studying electrical engineering at Southern Methodist University, the University of Texas and Princeton University. Returning to Waco, he put a band together, created his own stage sound and lighting systems, costumed himself in head-turning silver-toed boots, rhinestone jacket and white Stetson hat, and began recording in 1946 with the first in a long line of self-penned singles, "Whoa Sailor."

That song, with its echoes of Wills, Jimmie Rodgers and the commercial "singing cowboy" style, caught the ear of Tex Ritter, who persuaded Capitol Records to sign the young performer in 1948. With that, Thompson and His Brazos Valley Boys commenced their long run in Country Music. Their beat had all the bounce and swing of Wills and his Texas Playboys; particularly on their later releases, and on occasional instrumental tracks such as "Wildwood Flower" and "Big Beaver," the musicians stretched out in solos or hot rhythms that brought their feel for jazz into the spotlight.

Mostly, though, they settled into unobtrusive but irresistible grooves behind Thompson's buoyant vocals. Barrooms and dance floors were his realm, familiar territory for anyone working the Lone Star clubs, yet his approach was innovative, adding string parts to up-tempo tunes and altering the depth of echo on his voice to reflect shifts of meaning in the lyrics to songs such as "A Six Pack to Go" and "I Cast a Lonesome Shadow."

Thompson's singles cracked the Top 10 29 times from 1948, with "Humpty Dumpty Heart," through '74. "The Wild Side of Life," one of the few hits in his catalog that he didn't write, became Thompson's first No. 1 hit in 1952 and lodged at the top of the charts for 15 weeks, where it inspired Kitty Wells to write and record "It Wasn't God Who Made Honky Tonk Angels" as a rebuttal to its heartbreak theme. A mentor to young talent, Thompson helped launch the careers of Wanda Jackson, Jean Shepard and Merle Travis.

Whether opening Las Vegas to booking Country performers, recording the first live album by a Country artist (At the Golden Nugget in 1961), leading the Country pack in organizing corporate tour sponsorship as well as recording in stereo, or hosting the first television show to be shown in color (broadcast from Oklahoma City over WKY-TV in the '50s), Thompson didn't let his adventurous spirit cut him from the roots of his music.

Elected to the Country Music Hall of Fame in 1989 and the Nashville Songwriters Hall of Fame in 1997, Thompson succumbed to lung cancer at home in Keller, Texas on Nov. 6. True to his upbeat personality, friends and family observed his passing a week later with a "celebration of life" at the famous Fort Worth mega-honky tonk, Billy Bob's Texas.
 

   

Images for above article.

 
     
Hank Thompson; Photo courtesy of the Country Music Hall of Fame and Museum
Photo: See Caption

 

     

Ken Nelson: 1911-2008
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association, Inc.

The road is long from Jelly Roll Morton to the Beach Boys, but Ken Nelson followed it and even steered it deep into the realm of Country Music, on a journey that ended with his death at home in Somis, Calif., on Jan. 6, less than two weeks before what would have been his 97th birthday.

As an A&R executive for Capitol Records in 1957, Nelson signed and helped elevate an unknown Gene Vincent to stardom by producing his epochal rockabilly smash, "Be-Bop-a-Lula." In later years he would facilitate the arrival of artists as diverse as the Beach Boys and satirist Stan Freberg to the record label, but his most enduring legacy is to have affected the evolution of American music by discovering scores of outstanding Country Music artists and producing more than 100 of their No. 1 hits.

Born in Caledonia, Minn., he spent his first years in an orphanage, where he had been given up for adoption. In his teens, Nelson delivered sheet music in Chicago to Morton, Louis Armstrong and other early jazz giants. By the early 1920s, he had found a foothold in the radio industry, as a sometime singer, tenor banjo player and announcer at WAAF/Chicago.  Eventually he became Music Director at WJJD/Chicago, where he produced and recruited talent for "Suppertime Frolic," the radio station's live Country Music program, whose regular performers included a very young guitarist named Les Paul.

Following military service in World War II, Nelson worked for Capitol Records in Los Angeles, where he rose in 1951 to head the label's A&R staff for Country Music. He established himself quickly, first as producer of Hank Thompson's "Wild Side of Life," a No. 1 smash for 15 weeks, and then through signing and/or producing Tommy Collins, The Louvin Brothers, Jean Shepard, Wynn Stewart, Faron Young and other luminaries.

In 1956, Nelson produced two especially significant singles, "Gone" for Ferlin Husky and "Young Love" for Sonny James. Husky's performance reached No. 1 on the Country charts and No. 5 in the pop realm at a time of concern over the impact of rock 'n' roll on the fortunes of Country Music. By employing the Jordanaires, who were already celebrated for their harmonies behind Elvis Presley, on "Gone," Nelson demonstrated the viability of the idiom through its configuration into what would become known as the "Nashville Sound."

In the early '60s, Nelson made a comparable impression, this time by moving in a less polished direction at a time when the payoff in credibility was to draw another wide audience toward the Country fold. In elevating both Merle Haggard and Buck Owens to prominence, he brought their "Bakersfield Sound" into the limelight and helped launch an era of cross-pollination between Country and rock, each to the other's commercial and creative benefit. This, in turn, enabled Nelson to find and record another crop of gifted artists, including Glen Campbell, until his retirement from Capitol Records in 1976.

With feet planted in both Hollywood and Nashville, Nelson helped expand Country Music beyond its traditional markets. One of his greatest attributes was his determination to let each artist define the direction of the session, based on their talents rather than on any preconception from Nelson. By granting them latitude, he helped establish Country Music as an idiom suited for singers and songwriters who had something unique to offer.

This, in turn, positioned Nelson to play an important role in launching CMA in 1958. His memoir, My First 90 Years Plus Three, published in 2007, included much of the story behind the birth of the organization, where Nelson served as a founding and longtime member of the CMA Board of Directors. In 1961 and '62 he also held office as CMA Board President. At the age of 91, in 2001, Nelson was elected to the Country Music Hall of Fame.

"Ken was a prolific, successful record producer with a keen ear for talent, as well as a respected businessman and leader," said Jo Walker-Meador, former CMA Executive Director and fellow Country Music Hall of Fame member. "And he played a tremendous role in getting CMA established. One of the happiest times of my life was during his leadership."
 

   

Images for above article.

 
     
Ken Nelson at his 2001 Country Music Hall of Fame induction.
Photo: John Russell / CMA

 

 

 

 

Issue Date: 1/15/2008  
The Bluegrass Sessions: Merle Haggard's Take on Tradition
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association, Inc.

For more than 10 years, Country Music Hall of Fame member Merle Haggard has been thinking about recording a bluegrass album. Then on Oct. 2, 2007, McCoury Music released Haggard's The Bluegrass Sessions, showcasing somewhat surprising fruits of his ambition.

After all, these performances don't rocket along on banjo-driven, Scruggs-style adrenaline. No tenor harmonies soar over the instrumental foundation. Only one of its 12 songs, "Blues Stay Away from Me," stems from the genre's standard repertoire; the rest, aside from a Jimmie Rodgers medley, comes from Haggard's catalog.

The question may be whether this is really a bluegrass album at all. "Well, I've thought about that several times," Haggard, the 1970 CMA Entertainer of the Year, admitted. "It's a good question. It's certainly worth answering, and I don't know if I'm qualified to answer it. So I'm going to let the people decide what they think."

The will of the people has been important to Haggard, composer of "Workin' Man Blues" and other hymns to the wisdom and strength of blue-collar America. Parsing his music into one or another category is less of a priority. Certainly it was far from his mind when Haggard and a group of all-star musicians gathered for two days at Ricky Skaggs' studio near Nashville to cut these tracks.

"We could have gone deeper into bluegrass," he reflected. "We could have put harmony on it, because we had good harmony singers all around us. We could have done this and we could have done that. But there's no way to change me. I'm 70 years old, so Merle Haggard just went down there with some good bluegrass pickers and made an album. It was a three-way choice between Ronnie, Marty and me to leave it alone, because what we were playing was so fresh and unrehearsed. And that's the result, right there."

Ronnie Reno and Marty Stuart were among the musicians on The Bluegrass Sessions, along with younger players who also boast strong bluegrass credentials. Some of them were strangers to Haggard; Reno, however, had been a Stranger for nine years, an experience that coupled with the deep bluegrass lineage of his family to put him in a key position on this album.

"When I was with The Strangers, from 1972 through '81, Merle was playing the fiddle a lot," said Reno. "Of course, he played a lot like Bob Wills at that time, but he knew a lot of old breakdowns, which I also knew from bluegrass. So we'd play them as we were going down the road on his bus, and we'd get into singing songs like 'Molly and Tenbrooks 'or 'Love, Please Come Home.' We talked a lot about the earlier years, when he used to listen to my dad, Don Reno, and his partner Red Smiley on the radio."

"Ronnie was working with Sonny and Bobby Osborne when I hired him," Haggard remembered. "I learned a lot about bluegrass from Ronnie, about the inside of it. So when the time finally got right to do this album, I called him. And it took off right then."

Aside from asking him to invite Stuart to join them, Haggard left it up to Reno to put the band together and work out the logistics. Early in this process, it became clear that a by-the-book bluegrass approach was not the likely outcome. "We went through several attempts to pick some material," Reno said, "but it always kept going back to new songs that Merle was writing."

"We thought about confining ourselves to the standards," Haggard added, "but it just didn't make much sense to us. I'm Merle Haggard, that's bluegrass music, and why can't it be new? So we just picked a bunch of songs that I had."

They settled on a mix of classic and new works. "Big City" made the cut in part because Haggard enjoyed the bluegrass-flavored version that Iris DeMent contributed to the Haggard tribute album, Tulare Dust: A Songwriter's Tribute to Merle Haggard. "Hungry Eyes" is there too, with poignant chorus harmonies added by Alison Krauss. Highlights from the new compositions include "Pray," a waltz-time meditation on love that Haggard wrote with his wife Theresa while reconciling after an argument, and "What Happened," a funny/sad reflection on America's loss of innocence.

"I wrote that one a couple of years ago, after taking my wife to the hospital over the Christmas holidays," he said. "I was driving back home from the Bay Area in my Hummer when a real fierce storm hit on Interstate 5. I had to negotiate this hurricane with trucks all around me and a cross wind of 60 or 70 miles an hour when this song hit me. It took me three hours to wrassle that song in the midst of this storm. Songwriters never know when something great will come by. When it does, you don't want to miss it."

Haggard showed up at the studio late in the morning with his list of songs, his guitar and trust that Reno had put the right combination of players together. It didn't take long after that for everyone to connect, though it took a little creative arrangement to make that happen.

"Merle just put everybody at ease when he came into the studio, sat down and said, 'This is one I want to do,'" dobro player Rob Ickes said. "It was 'Pray.' He sang a little bit of it and it was perfect. Then Marty said, 'How about this?' He played this awesome mandolin kickoff and everything fell into place."

The excitement level was high after that, as everyone scattered into their isolation booths to lay down their first track. It's not clear now what that song was, because right off the bat something didn't feel right. That energy they had felt while playing in the same room wasn't so easy to tap with everyone out of sight and separated from each other.

Then Stuart had an idea. "He said, 'Hey, get that mic back out there in the middle of the floor. Let's circle around out there and see what happens.' That's what we did," Haggard recalled. "I got to the end of the circle and we played those tunes, just like we were in your front room. There were no overdubs, none of that crap. It was all live. There were little warts here and there, but we played the best we could play and it felt good to us."

From that point, The Bluegrass Sessions became less about evoking a style of music and more about letting the creative process happen as it would, without preconception. Even so, Reno insists that the heart if not the letter of this music is pure bluegrass. "A good bluegrass band will put a little drive in their music," he said. "Once Merle sets the tempo, he does that same thing with his voice. So I knew that these players would accommodate that for him and even put a little more energy into it."

Bluegrass giant Del McCoury, who released The Bluegrass Sessions as the third album on his McCoury Music label, agrees. "Is this a bluegrass album? Well, it is Merle, isn't it?" he said, chuckling. "It doesn't matter what kind of band it is. Just listen to this great singer and his great songs. Really, that's what it comes down to."

On the Web: www.merlehaggard.com

   

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Merle Haggard; Photo: Pamela Springsteen
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Marty Stuart and Merle Haggard. Photo courtesy of Brenda McClearen/McClearen Design Studios
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Carl Jackson, Ben Isaacs, Merle Haggard, Aubrey Haynie, Marty Stuart and Rob Ickes. Photo courtesy of Brenda McClearen/McClearen Design Studios
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Theresa Haggard, Aubrey Haynie, Charlie Cushman, Ben Isaacs, Rob Ickes, Carl Jackson, Marty Stuart, Merle Haggard, and Ronnie Reno. Photo courtesy of Brenda McClearen/McClearen Design Studios
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NEW ARTIST SPOTLIGHT: Dan Colehour
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association, Inc.

Dan Colehour knows how to capture the essence of his corner of the world in verse and melody. He then manages the neat trick of translating that message into a more universal language, so that listeners might sense their corner of America in these songs as well.

A tangible sense of place and time permeates Colehour's songs: On "Quarry Town," the first single from his MCA/Carnival Recording Co., debut album, Straight to the Highway, he throws down a muscular groove, part heartland rock and part fish-fry fiddle, to convey his images of young men not too long ago, who traded dead-end lives in the limestone pits outside of town to "make a deal with Uncle Sam in the name of God and country" in Vietnam. It's not a new theme, but like John Mellencamp, Bruce Springsteen and other pillars of Americana, Colehour makes it unmistakably his, throughout each of his 10 original songs on this album.

Raised in the rolling countryside of eastern Iowa, he rambled in his early 20s to Southern California, settled for a while in Texas and wound up in Nashville with a deal at Carnival Music Publishing and a head full of songs whose blue-collar poetry resonate far beyond the Iowa horizons. On Straight to the Highway, with help from executive producer Frank Liddell and co-producers David Grissom (Dixie Chicks, Joe Ely, Mellencamp) and Mike McCarthy (Fastball, Patty Griffin), he visits a folkloric theme of injustice on "Another Man's Crime" but achieves greatest eloquence on "Lucky Man" and "My America," songs that bring the American dream down to basics of family, love and freedom, which listeners everywhere can surely understand.

IN HIS OWN WORDS

Who is your musical hero?
"Bruce Springsteen."

What book is on your nightstand?
"Cottonwood by Stacy Dean Campbell."

What song would you like to cover? 
"'The Twelfth of Never.'"

What CD is on your stereo?
"Led Zeppelin's greatest hits, disc four."

Who is your dream duet partner?
"Shawn Colvin."

What word or phrase do you find yourself saying over and over again?
"Apparently."

What mode of transportation do you prefer: plane, train or automobile?
"Automobile."

What song do you wish you had written?
"'Sing Me Back Home' by Merle Haggard."

What moment in your life would you relive if you could?
"The afternoon I first met my dog Shelby Lynn."

What actor would portray you in a biopic about your life?
"Ethan Hawke."

Do you have a lucky charm?
"Yes, a St. Christopher medallion."

When they look back on your life in 50 years, what do you hope people say about you?
"He was a friend of mine."

If you wrote an autobiography, what would the title be? 
"You'd Better Hang on to Something."

On the Web: www.dancolehour.com

   

Images for above article.

 
     
Dan Colehour; MCA/Carnival Recording Co.; Photo: Mark Tucker
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NEW ARTIST SPOTLIGHT: Sherry Lynn
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association, Inc.

If Sherry Lynn had never been born, someone would have brought her to life in a Country lyric. In fact, that song has already been created - by Sherry Lynn herself.

On her Steal Heart Music debut album, It's a Woman Thing, this buoyant singer co-wrote two tracks but penned her most personal song, "Is There Still Time," on her own. In contrast to the honky-tonk swagger of uptempo tunes that include "Love or Something Like It" and "Playing with the Big Boys," this one tells the story of a woman who had her first child at 17, was married by 19 and is left to peer down the road that runs past her suburban home, wondering "is there still time for her to chase her dream, the one she left behind?"

That's exactly what Lynn was asking herself back in Clayton, N.J., where life seemed to offer nothing more than a job waiting tables. All that changed when she reordered her priorities and made her way to Nashville.

Producer Ted Hewitt captured Rodney Atkins' rugged but sensitive essence on If You're Going Through Hell; he repeats the feat with Lynn on It's a Woman Thing, in which a tender current adds depth to the assertive, sometimes playful quality in her phrasing. There's wisdom in her music, insightful and childlike on "Scarecrow Dance," wry and toughened by experience on "Wrong Train." Above all, there's the kind of strength that comes from survival - and a promise that Lynn intends to stay around for a while.

IN HER OWN WORDS

Who is your musical hero?
"When I was a young girl, I grew up wanting to be just like Loretta Lynn. She still hugs a part of everything I love about Country Music, but as I grew into adulthood Reba McEntire became a chart topper for me. She is such an amazing person inside and out, not to mention that incredible voice of hers."

Which song would you like to cover?
"'Just Like Jesse James' by Cher."

What word or phrase do you find yourself saying over and over again?
"It's all good."

When they look back on your life in 50 years, what do you hope people say about you?
"I hope people would say what a caring and giving person I was and how I somehow impacted their life in a good way - that somehow I was some sort of inspiration to them."

If you wrote an autobiography, what would the title be?
"It would probably have the same title as a song I wrote for the album called 'Is There Still Time.'"

On the Web: www.sherrylynnmusic.com

   

Images for above article.

 
     
Sherry Lynn; Steal Heart Music; Photo: Todd Killen
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Issue Date: 1/8/2008  
Breaking Expectations: The Triumph of Rascal Flatts
By Deborah Evans Price

 

© 2008 CMA Close Up News Service / Country Music Association, Inc.

You've sold 15 million albums, scored nine No. 1 singles and bested every other artist across all genres of music to become the top selling act of 2006 of all genres. So what's next?

That question faced Lyric Street Records sensation Rascal Flatts early last year as the trio began planning its Platinum-selling album, Still Feels Good, which was later released on Sept. 25, 2007.  And the answer? "We just wanted to go in with the same ammo we've always had and cut the best music we could," said Jay DeMarcus.

Still, DeMarcus and his fellow Rascals Gary LeVox and Joe Don Rooney weren't oblivious to expectations. "The guys and I always try to find songs that will keep appealing to the masses the way our music has been able to so far," DeMarcus said. "We pick music that speaks to us with a message that we want to say, but definitely fans and radio are the two biggest aspects of our career, so we make music for them."

Since their self-titled debut in 2000, Rascal Flatts have rocked Country radio with "Bless the Broken Road," "Fast Cars and Freedom," "Mayberry," "Me and My Gang," "My Wish," "These Days," "Prayin' for Daylight" and other hits. They've also topped adult contemporary charts with Steve Robson and Jeffrey Steele's "What Hurts the Most," which made them one of only three Country acts to have a No. 1 song at both AC and Country radio in the same week. Industry honors flowed their way as well, including the CMA Horizon Award in 2002 and five consecutive selections as CMA Vocal Group of the Year.

Still Feels Good posted first week sales of 547,000 units, making it the week's top selling album across all genres of music. Still Feels Good is the band's third consecutive album to open at No. 1 on the Billboard Top 200 chart and has since sold more than 1.6 million copies. Included in its first week sales are more than 44,000 digital albums, making it the biggest Country digital album debut in Nielsen SoundScan history.

This success, according to Dann Huff, who co-produced Still Feels Good with the band, stems from "a combination of two things: the sound of those three voices and their choice of songs. They are absolutely dedicated to singing songs that make you want to sing with them. They sing meaningful songs in an entertaining way."

DeMarcus and LeVox, second cousins from Columbus, Ohio, laid the foundation for this phenomenon when they both wound up in Chely Wright's band. They performed together in Nashville's nightclub strip Printer's Alley, and when their regular guitarist wasn't available one night, Rooney was called to sit in. The chemistry proved magical, especially in the harmonies that have become a signature of the Rascal Flatts sound.

"The reason this whole thing has worked is the combination we have together, not only as business partners and members of a band, but we're great friends," said Rooney. "It's almost like we're brothers at this point. We have this tremendous connection and love for each other and a desire to sing together. As long as we stay true to that and roll with the flow, I think we'll be just fine."

That connection allowed the group to take some chances in recording Still Feels Good. As LeVox explained, "We said, 'OK, in April, May and June, we're taking off. We're going to sit in the studio and create this album.' The four previous albums, we'd be on the road on the weekend and we'd come back on Sunday. Then Monday, Tuesday and Wednesday, we'd be in the studio, trying to cut it. This time, we took more time. We dedicated our lives to sitting down for three months and creating an album."

Their only show during that period was at LP Field for the 2007 CMA Music Festival. "We let it all hang out," said LeVox. "We sang like it was the last time we would ever sing again. We were so hungry for the stage."

"CMA does an amazing job," Rooney added. "It's so easy to get up there and do your show. I noticed, particularly this year, the setup and teardown of each band or artist performing was really, really quick. It gets better every year and the crowds are getting bigger. It's almost like a big family reunion."

Speaking of family, the guys are quick to call Huff one of their own. "Dann comes from a band background with Whiteheart," said LeVox. "A lot of times, producers have never been in bands. But Dann is one of the finest musicians to have ever played a guitar in a band, so he knows what he's looking for. What he wanted to do is take our live show and capture it on CD."

"He's a consistent friend and confidant," added DeMarcus. "He comes out on the road for a weekend, just to see what we're doing in our live shows. He is as passionate about this as we are. I live, eat and breathe and am consumed by music, and to have someone making your record with you that's totally in touch with those emotions and gets your point of view, it's really refreshing. So, for us, Dann is more than a producer. He doesn't just make music with us. He is the fourth Flatt."

"I'm proud to be called the fourth Flatt," Huff said, laughing. "But do I really have the hair for it?"

In addition to co-producing with Huff, the band members took a more active role by co-writing five of the 13 songs for Still Feels Good one of which features a guest appearance from actor and musician Jamie Foxx, a friend of LeVox's for more than 13 years.

"We used to sit around for hours at Jamie's house, singing and playing and having a good time," LeVox said. "So when Jay and Joe and myself wrote this song, we thought it would be great to have him on it. I called him up just to say, 'Hey, man, you've got to hear this song. I think you could really, really kill it.' He said, 'Tell you what. I'll sing on your record if you guys will sing on mine.' I said, 'Alright.' He asked what the name of the song was. I said, 'She Goes All the Way,' and he said, 'Man, I just want to meet that ol' girl.'"

Though Rascal Flatts is their obvious priority, DeMarcus and Rooney are branching out too. DeMarcus has produced cuts for Jo Dee Messina and James Otto, and Rooney is spending time in the studio with Nashville-based singer Brian Taylor and a rock band in Los Angeles called Stars Align.

"It's always fun to do some other projects," Rooney noted. "I try to spend time helping other people like I was helped seven or eight years ago, when I got this
Rascal Flatts deal.

"The awards are wonderful and all the accolades," he continued. "But the greatest thing is the way we are able to record songs that have changed people's lives. They've really made an impact. [People tell us about] putting down the bottle or not committing suicide, and having joy and happiness in their lives that they didn't have before. Those are the positives."

Such blessings aren't taken for granted. "For so many years, I was that person sitting on that lawn," LeVox said, referring to the most distant seats for audiences at outdoor concerts. "It was just a dream to be on the other side one day. So I decided to play every show like it's the last one I'll ever play. Every night before we go out there, I say a prayer, just thanking God for giving us the opportunity to stand on another stage and showcase the talent he's given all of us."

On the Web: www.rascalflatts.com

   

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Rascal Flatts; "Still Feels Good;" Lyric Street Records
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Rascal Flatts; Lyric Street Records; Photo courtesy of Lyric Street Records
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Rascal Flatts; Lyric Street Records; Photo courtesy of Lyric Street Records
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Rascal Flatts; Lyric Street Records; Photo courtesy of Lyric Street Records
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NEW ARTIST SPOTLIGHT: Ryan Bingham
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association, Inc.

For a moment, set aside the vivid lyrics and raw, road-dusted feeling of Ryan Bingham's music throughout Mescalito. Listen, if you can, to just the sound of his voice as it rasps through the desert-dry vistas that unfold on "Southside of Heaven," cracks beneath the weight of heartbreak on "Bread & Water" and drags like a broken-down wagon in the heavy heat of "Ever Wonder Why." And those who don't speak Spanish don't need to understand the meaning of the words that open "Boracho's Station."

That worn and weary timbre is all Bingham needs to tell a compelling tale. But this surprisingly young artist has plenty to say as a writer too.

His images - buzzards, truck stops, trains, one-eyed dogs, tired old horses, shifty gamblers, prairie dawns - conjure the empty spaces and crossroad towns he knew while growing up in West Texas, just north of the Rio Grande. Those were restless years, during which his family moved constantly, seeking solid ground in rising tides of misfortune that eventually swept Bingham off to fend with fate on his own in his mid teens.

He did what had to be done, from riding bulls in rodeos to playing music for tips. A weekly bar gig in Stephenville motivated him to release a self-produced album, Wishbone Saloon, in 2005. This low-budget collection spread word through the Lone Star State and eventually to Lost Highway Records. Produced by Marc Ford, Mescalito proves that the line of hard-living troubadours, defined by forgotten balladeers long ago and sustained by the likes of Woody Guthrie and Hank Williams, has yet to reach its end.

IN HIS OWN WORDS

What CD is on your stereo?
"Marshall Tucker Band."

What book is on your nightstand?
"The Dogs of Winter by Kem Nunn."

What's your pet peeve?
"Whiners."

What moment in your life would you relive if you could?
"Learning to swim."

What actor would portray you in a biopic about your life?
"Bubba Daniels or Reece Fulbright."

Do you have a lucky charm?
"Mojo tooth and a black cat bone."

If you wrote an autobiography, what would the title be?
"Not All Who Wander Are Lost (from J.R.R. Tolkien)."

When they look back on your life in 50 years, what do you hope people say about you?
"He sure was loud for a scrawny little fellow."

On the Web: www.binghammusic.com

   

Images for above article.

 
     
Ryan Bingham; Lost Highway Records; Photo: Coy Koehler
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NEW ARTIST SPOTLIGHT: Whiskey Falls
By Bob Doerschuk

 

© 2008 CMA Close Up News Service / Country Music Association, Inc.

Whiskey Falls commands the essential ingredients for rock-inflected Country and adds their own distinctive attributes, the most evident being four-part harmonies that pound through "The Champ," soar like Eagles on "Last Train Running," nail some tricky intervals on "Let the Whiskey Fall," caress with a gentle yet muscular touch on "I Can't Stop Loving You" and sprinkle some Dixie dust on a Grateful Dead feel during the verses to "Days of Birmingham."

Their roots are in L.A., where Seven Williams, Wally Brandt and Wally's twin brother Bill ran We 3 Kings, a music production company that catered to film and television clients. Rather than hit the beach on weekends, though, Wally and Williams spent time in Nashville, honing their writing chops and making connections that led them eventually to Alabama-born multi-instrumentalist Buck Johnson and his friend and unrelated namesake, lead guitarist Damon Johnson.

Once the pieces had come together, the four-member group Whiskey Falls took shape, with a rough and rowdy veneer that somehow dovetails with the sophistication of their writing and instrumental finesse. Word spread quickly and virally, as 40,000 fans logged on to vote Whiskey Falls "Best New Duo/Group" on countrymusic.about.com while their self-titled album was the top-clicked debut on Napster's home, Country and subscriber pages. Produced by Cliff Downs, Bill Brandt and the band, Whiskey Falls on Midas Records Nashville is already flowing strong.

IN THEIR OWN WORDS

Who is your musical hero?
BUCK: "Paul McCartney, Bob Dylan, my parents-Dora Lee and Burleigh Johnson."
DAMON: "Neil Young."
SEVEN: "So many to mention but if I had to pick a few Freddy Mercury, Garth Brooks, Sting or Paul Simon."

Which song would you secretly love to cover?
BUCK: "'Wichita Lineman" by Jimmy Webb, 'Something' by George Harrison and 'Brick House' by the Commodores."
DAMON: "'Whenever You Come Around' by Vince Gill."
SEVEN: "Angel eyes by Jeff Healy, 50 ways to leave your lover by Paul Simon."

What CD is on your stereo?
BUCK: "CDs by Marc Cohen, The Travelin' Wilburys and Little Big Town."
DAMON: "Honky Tonk Heroes by Waylon Jennings."
SEVEN: "Little Big Town, Dixie Chicks, Keith Urban and The Nitty Gritty Dirt Band."

Who is your dream duet partner?
BUCK: "Bonnie Raitt, Dolly Parton and LeAnn Rimes."
DAMON: "Tom Petty."
SEVEN: "Ronnie Dunn of Brooks & Dunn or Norah Jones but only if Sanjaya is not available."

What book is on your nightstand?
BUCK: "A Thousand Splendid Suns, by Khaled Hosseini."
DAMON: "Across the Great Divide: The Band and America, by Barney Hoskyns."
SEVEN: "I haven't seen my bedroom in so long, I can't remember what I left there."

What song do you sing in the shower?
BUCK: "Usually some melody that I may be writing."
DAMON: "The theme to whatever Disney DVD my son is watching."
SEVEN: "I make up funny lyrics to classic songs. It makes me start my day by laughing at myself."

What's your pet peeve?
BUCK: "Being put on hold during a phone conversation."
DAMON: "Separating great music into categories."
SEVEN: "Being late."

What song do you wish you had written?
BUCK: "'Tiny Dancer,' 'Crazy' or 'Yesterday.'"
DAMON: "'Wichita Lineman' or 'Everyday People.'"
SEVEN: "'Hotel California,' 'Let It Be' or 'The Itsy Bitsy Spider.'"

What word or phrase do you find yourself saying over and over again? -
DAMON: "It's all good."
BUCK:  "You'll have to ask my wife about that one.  She'll probably will say 'give me just a minute.'"
SEVEN: "'We can do it.'"

What mode of transportation do you prefer?
BUCK: "A Harley."
DAMON: "Bus, bus, bus, bus."
SEVEN: "Roller blades."

What actor/actress would portray you in a biopic about your life?
DAMON: "Gary Oldman."
SEVEN: "Jamie Foxx, he did such a good job in 'Ray' that I'm sure he could really bring a lot to my character."

What moment in your life would you relive if you could?
BUCK: "The first time I saw my wife."
DAMON: "Meeting Stevie Ray Vaughn."

Do you have a lucky charm?
BUCK: "My wife, of course."
DAMON: "My skull ring."
SEVEN: "My faith."

If you wrote an autobiography, what would the title be?
BUCK: "The Cat In the Hat."
DAMON: "All The Way from Macon."
SEVEN: "Breaking the Rules."

When they look back on your life in 50 years, what do you hope people say about you?
BUCK: "That I was a good friend."
DAMON: "Damn, he smelled good."
SEVEN: "Wow, I can't believe that guy is still alive, married to the same woman and still making music."

On the Web: www.whiskeyfallsmusic.com

   

Images for above article.

 
     
Whiskey Falls; Midas/We 3 Kings Records; Photo: Michael Maples
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Issue Date: 1/2/2008  
bulletInternational Journalists Discuss the State of Country Music Abroad
bulletNashville-Based VOC Keeps British Country Radio Alive Online
International Journalists Discuss the State of Country Music Abroad
By Tom Roland

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

We call it "Country Music" - but that doesn't necessarily mean it's just for one country. That lesson was easy to draw from 2007's annual CMA Music Festival during June in Nashville, where visitors came from as far off as Chile, Japan and Scandinavia - a total of 21 nations on five continents.

Their embrace of music whose values reflect America's rural heritage and national pride poses questions that might best be answered by members of the foreign press, who were also more evident than ever at this year's Festival. They were particularly easy to notice early on the morning of June 10, when three of its distinguished representatives gathered for a breakfast discussion.

"I was playing 'Boondocks' in my show," said radio personality Dirk Rohrbach of Bavarian Broadcasting's public broadcasting channel Bayern 3, in reference to Little Big Town's first hit. "People kept calling and e-mailing, 'What is that? Can you play that again? That's great, that rockin', edgy song.' I suppose they didn't listen to the lyrics, but it doesn't really matter because the harmonies are so great and the sound is so different from pop radio."

Yet even with the United States in what may be considered a state of greater political isolation than in years past, its essence, as expressed through the lyrics of Country Music, still connects with listeners throughout the world.

"People dream about your country," insisted Georges Lang of RTL, France's largest commercial radio network. "We don't talk about politics. For the average French people, America is a dream - highways."

"People in Australia who don't know much about Country Music, I tell them that it's about relationships, love, family, community and all sorts of things," added Tim Daley, programmer for Australia's Country Music Channel (CMC) on TV. "Those are the things that naturally appeal to people with children, so these people tend to be a little bit older."

In this respect, at least, Country Music listeners around the globe have something in common with those in the United States. In Germany, for instance, Rohrbach identifies three general groups that gravitate to the genre: people intrigued with the American cowboy icon, middle-aged fans who seek an alternative to harder rock music and younger listeners drawn to the pop-influenced sound that underscores many current Country hits.

"I always envisioned this one big festival where the Springsteens and the Pettys and the Mellencamps, who are still huge in Europe, would bring Country acts like Trace Adkins, Brooks & Dunn and Keith Urban," Rohrbach said. "You name it. Put 'em on one stage and people would react. There's no difference."

Though Country obviously plays well in other territories, it also bears a stereotype, which is one reason why the term "Country," according to Rohrbach, has been replaced by "highway rock 'n' roll," a phrase that suggests the freedom of the road and an edgy attitude while avoiding old stereotypes and connotations.

"It's really important, talking about Country Music internationally, to focus on a mainstream audience," Daley pointed out. "You don't go after Country fans. There aren't enough of them. You don't have the NASCAR crowd. You want to be on the biggest TV shows. You want to do the promos. You want to do in-stores at the best record stores. You have to approach it like it's mainstream. You don't go in looking for a sliver of the audience. You want to cast as wide a net as you possibly can."

Doing this overseas is apparently easier than at home in the States. Instead of the intensive radio tours that new American artists frequently undergo, an artist could reach as many as 80 million people by visiting as few as 10 radio stations in Germany and France. And it might take just one radio visit in Australia, where the CMC claims to have sewn up about 75 percent of the Country activity.

Ultimately, the artists who make the biggest impact overseas are the ones who treat that market like a door prize: Must be present to win. Johnny Cash, Emmylou Harris, Keith Urban and Dwight Yoakam were all mentioned as artists who built an audience by going abroad early in their careers and following up, on average, with international tours every couple of years.

"When you talk about Country, you talk about artists like Waylon Jennings, like Willie Nelson, because the [younger breaking artists], we just don't know them," Lang said. "I know them, because I'm coming to Nashville, but there is little communication between Nashville and Europe about the new Country. I'm quite sure that they will love this kind of new Country, but they don't know a lot about it. They cannot read about it or see it."

That's one of the biggest reasons why the foreign press was on hand at CMA Music Festival. Daley and Rohrbach were making their second trips, and Lang has attended approximately 25 times. They care deeply about the genre and they're doing what they can to bridge the distances between Music City and their hometowns.

"We're so passionate about the music," Rohrbach noted. "We're over here to talk to the artists. We're spending our time, our money and we invest that because we love the music."

The 2008 CMA Music Festival takes place June 5-8 in Nashville. Tickets are available at 1-800-CMA-FEST; CMAfest.com or Ticketmaster.

   

Images for above article.

 
     
Tom Roland, RolandNote.com Founder; Dirk Rohrbach, Host, Bayern 3, Bavarian Broadcasting; Bobbi Boyce, CMA International Director; Georges Lang, Producer/Host, RTL France; and Tim Daley, Program Director, CMC/Country Music Channel, Australia.
Photo: Amanda Eckard / CMA

 

     

Nashville-Based VOC Keeps British Country Radio Alive Online
By Lorie Hollabaugh

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Thanks to two guys in Nashville, Country Music fans throughout the United Kingdom have a 24-hour lifeline to the songs and artists they love.

Voice of Country, a commercial-free Internet radio venture created by Programming Director Pat Geary and Business and Creative Services Director Barry O'Neill, brings a broad spectrum of Country Music to the U.K., from the latest and rarest music to artist information via streaming audio, podcasts and e-newsletters.

"VOC is like a portal for the U.K. and Europe into Nashville," O'Neill explained. "Obviously it makes sense for us to be here, selling that idea. We offer up the latest music and will also provide a social network for fans like MySpace, news, interviews and even exclusive artist content bundled together in a package for our listeners back in the U.K. who are not properly serviced by the Country market."

"British listeners tend to be passionate about their music," Geary added. "They want to know about the artists, they want to know about the songwriters, and they're really interested in the lyrics; we give them all that information. Besides, people are used to being given a wider selection of music. At the gym I used to see people with radios, and now it's all iPods. So you can't expect them to be satisfied with 20 to 30 songs anymore. That's why we play a bigger variety - 75 current songs, more than any hit Country station in the world as far as I know - plus loads of Gold and recurrents (recently charted tracks, too new to be considered oldies). I don't think any other radio station in the world sounds like we do."

Geary, a former California attorney, ran his own record store in Scotland, where he resided for more than 20 years. During that time he occasionally subbed on-air for the host of "Brand New Opry," the BBC's weekly two-hour Country Music show, and was eventually tapped to run 3C, Britain's first national Country radio station.

It was there that he met O'Neill. While researching his master's thesis, which addressed the rebranding of Country Music due to perceived imaging problems in the U.K., the Scottish student interviewed and befriended Geary, who later hired him to manage 3C. When the conglomerate that owned the station decided that Country wasn't viable for its market, the two came up with a plan to fill the void.

"Virtually no stations over there play Country," O'Neill said. "Basically, the market has gotten stuck in the late '80s Garth Brooks era. For a while it was hard for Country to make its way in, but now the time is right with Country's top artists. Obviously, you've got a hardcore base of fans who already like the music. Then there's a soft-shell base, with people who like singer/songwriter, guitar-based music and would like Country as well."

"CMT Europe in the '90s turned a lot of people on to Country," Geary noted. "People still lament the fact that it's gone. The problem has been that the big media players in the U.K. are very trend-driven, and their perception is that Country will never be hip in Britain, so they're not even touching it. I don't think they understand it can be very hip. What can be hipper than Kenny Chesney rocking out in a big stadium concert?"

In its mission to entice a new generation of Europeans into the Country fan base, VOC announced its launch through carefully placed advertising in magazines aimed toward fan clubs and even line-dancers, as well as via the www.bebo.com networking site. To make the music feel less exotic to new listeners, its format embraces elements of Triple A, CHR and pop radio.

"We've modeled it on a Triple A format with a wider playlist and put Country into that," Geary said. "Then we've based the imaging on CHR radio. It's more pop, not Country-style imaging at all, so we're saying to people, 'Country is part of everybody's life.'"

"There's no question the fan base is there," Geary continued. "The BBC show, which is on once a week for two hours, gets 730,000 listeners - and that's just the people who normally tune in. We've talked to U.K. media people who agree with us that Country could have a radio audience of 3 to 4 million easily, so we're banking on the fact that with Internet radio being more accessible, we will be on the forefront for people to come visit us.

"We're not there to serve a small core," he emphasized. "We're there to expand the audience. It's like there's this wall between them and Nashville. We want to bust through it, and everyone's going to benefit."

On the Web: www.voiceofcountry.com

   

Images for above article.

 

 
   
Voice of Country Programming Director Pat Geary and Business and Creative Services Director Barry O'Neill.
Photo: Amanda Eckard / CMA

 

Cowboy Crush (Debbie Johnson, Trenna Barnes, Renae' Truex and Becky Priest) stop by the CMA offices as part of their radio and media junket to introduce and celebrate the release of their new single "Miss Difficult" (Curb/Asylum) with the radio personalities of "Voice of Country," Business and Creative Services Director Barry O'Neill and Programming Director Pat Geary. Photo courtesy of VOC.
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Issue Date: 12/21/2007  
bulletASCAP: Dedicated to Exceeding Expectations
bulletBMI: Embracing the Future, Honoring the Past
bulletSESAC: Building Careers on Relationships
ASCAP: Dedicated to Exceeding Expectations
By Crystal Caviness

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Service is the key word at ASCAP, The American Society of Composers, Authors and Publishers, where senior management keeps the focus on its songwriter and publisher members when discussing the 93-year-old organization's goals. "ASCAP is the only performing rights organization in the United States that's owned by its members," said John LoFrumento, ASCAP CEO. "We never have a conflict in our business objectives, because we're negotiating on behalf of our songwriters and their publishers."

More than 300,000 songwriters and publishers - Beyoncé, Kenny Chesney, Alan Jackson, Jay-Z, Dave Matthews, Brad Paisley, Rascal Flatts, Sugarland, Justin Timberlake, Diane Warren and Stevie Wonder, to name just a few - have elected to make ASCAP their PRO.

Providing advantages for its members and positioning the company to most effectively represent their interests is the core of ASCAP's mission, according to LoFrumento.

These advantages range from providing competitively priced insurance to proactively fighting piracy - the illegal duplication and distribution of licensed content that plagues the entire entertainment industry.

"Piracy doesn't impact ASCAP directly as an organization, but it impacts our members who are entitled to a public performance royalty, which ASCAP provides," said Phil Crosland, ASCAP Executive VP / Chief Marketing Officer. ASCAP leadership spotted a problem in the anti-piracy campaign headed by the Recording Industry Association of America, in which fining random illegal downloaders made front page headlines and did little to improve the music industry's public relations.

"No one was addressing the educational component," said Crosland. As a result, ASCAP decided to research how it might make a difference in correcting the problem.

And so ASCAP joined earlier this year with iSafe, a nonprofit program funded by Apple, Microsoft, Verizon, the United States Department of Justice and others, to launch an anti-piracy road show that's expected to reach more than 2 million junior high school students by the end of 2007.

This one-hour presentation is now being offered at school assemblies in an effort to dispel myths about illegal downloading and provide overall Internet safety information.

For the anti-piracy section of the show, Crosland and his department created Donny the Downloader, an animated teenager who learns the truth about illegally downloading music.

"Donny tells the story that when you download music illegally, you're hurting a lot more people than you think," Crosland said. "Donny is based on the insight from kids who think they are hurting only the artists who are already in the back of a Learjet, drinking champagne."

Donny is succeeding. Seventy-three percent of teens surveyed after experiencing the Donny the Downloader segment said they are less likely than before to accept downloaded files from friends. And 66 percent indicated they are more likely to use legal sites for downloading music.

Despite these impressive results, Crosland is realistic about the magnitude of this challenge. "Intention is one thing," he pointed out. "Actual behavioral change is always a challenge, but you have to start with kids believing this is new information."

In another move to address an area of concern for music creators, ASCAP joined with the insurance company Sterling & Sterling in 2000 to form MusicPro Insurance. The program offers high-quality coverage, ranging from equipment rental insurance to long-term care, to everyone who earns part or all of their income through music. Rates are competitive, and the service is not exclusive to ASCAP members.

Details are available at the benefits page of the ASCAP Web site.

Guided by what LoFrumento called the "business mind of publishers," ASCAP formed a joint venture four years ago with Connexus Corporation to create Mediaguide, a digital tracking service that provides real-time performance data in the United States, Africa, Asia and Europe. Mediaguide tracks approximately 3.5 million radio performances of songs per week and in excess of 80 million ad detects per year.

Operating independently, Mediaguide provides ASCAP with data for determining royalty distributions. It also serves clients who may use the information to track advertising placements, consumer trends and for other purposes, according to Mike Sistad, ASCAP Director of Membership Relations.

Mediaguide differs from Broadcast Data Systems (BDS), Mediabase and other tracking services, he said, because it was tailor-made to track the information ASCAP desires, rather than execute random surveys.

"Mediaguide tracks twice as many Country radio stations as any other tracking service in the United States," Sistad explained.

"The good news about Mediaguide is that it is a profit-making company," LoFrumento added. "The profits we are getting will be used to lower operating costs, and that will morph into distributions for our members."

ASCAP has implemented other ways of growing the careers of its members, including the I Create Music Expo, now in its second year in Los Angeles. "We bring together the best of ASCAP's members into a panel to help in career development for our members," Crosland said, adding that the seminars are also open to non-members.

More than 1,500 music creators attended the inaugural Expo in 2006. That number rose to exceed 2,500 in '07, with 250 speakers that included Hal David, Jimmy Jam, Randy Newman, John Rich, ASCAP President and Board Chairman Marilyn Bergman and other ASCAP notables.

On the Web: www.ascap.com

   

Images for above article.

 

 

 

 
ASCAP celebrates longtime ASCAP member Alan Jackson's Platinum success with his album, Precious Memories. (l-r) Connie Bradley, Senior VP, ASCAP; Alan Jackson; and Joe Galante, Chairman, Sony BMG Nashville. photo: Tony Phipps
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At the 45th Annual ASCAP Country Music Awards, Craig Wiseman is named Songwriter of the Year, John Rich receives the Songwriter/Artist of the Year, and two songs, "Before He Cheats" (Chris Tompkins and Josh Kear) and "If You're Going Through Hell (Before the Devil Even Knows)" (Dave Berg), share Song of the Year honors. Sony/ATV Music Publishing is named Publisher of the Year. The ASCAP Golden Note Award is presented to Kenny Rogers and the Creative Achievement Award goes to Don Schlitz. (l-r) John LoFrumento, CEO, ASCAP; Craig Wiseman; Connie Bradley, Senior VP, ASCAP; and John Rich. photo: Kay Williams
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ASCAP executives visit Fallsview Casino Resort in Niagara Falls, Ontario, to check out the Hitmen of Music Row performance. (front) songwriter Al Anderson; Connie Bradley, Senior VP, ASCAP; and Pat Rolfe, VP, Membership, ASCAP. (back) songwriters Tim Nichols, Bob DiPiero, Jeffrey Steele, Craig Wiseman and Tony Mullins. photo: Richard Beland
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CMA and ASCAP host a party at Nashville's Owen Bradley Park to celebrate ASCAP songwriter Kenny Chesney's first solely written No. 1 hit single, "Beer In Mexico," from his multi-Platinum album, The Road and the Radio. (l-r) Producer Buddy Cannon; Troy Tomlinson, President/CEO, Sony/ATV Music; Tammy Genovese, CMA CEO; Kenny Chesney; Connie Bradley, Senior VP, ASCAP; and Joe Galante, Chairman, Sony BMG Nashville. photo: Eric England
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BMI: Embracing the Future, Honoring the Past
By Crystal Caviness

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

The leaders at BMI think of themselves as caretakers, in the business of protecting copyrights, nurturing the careers of songwriters and publishers and servicing music users, too.

In fact, this performing rights organization was born in direct response to these needs. In 1939, a group of radio executives concluded that writers and publishers of original American musical genres - Country, gospel, blues, R&B and folk - weren't getting the protection in music licensing that they deserved.

Rushing to the newly opened doors of BMI in Nashville were Eddy Arnold, Johnny Horton, Roy Orbison and Hank Williams, writers and often performers of some of the nation's most legendary music.

"The largest percentage of Country Music Hall of Fame inductees, and also in the Rock and Roll Hall of Fame, are from BMI," said Jody Williams, BMI VP of Writer and Publisher Relations, adding that many of the sub-genres BMI first represented in the 1940s melded into rock 'n' roll in the mid-'50s.

"It's great to talk about our history, because it's very rich," he said.

At the same time, insisted BMI President and CEO Del Bryant, "It's not our job to remember and revel in the past. It's our job to embrace the future and honor the past. And that's what we do: Whether it's technologically speaking or musically speaking, we certainly honor what brought us here."

Part of what brought BMI to its current success is 21st-century Country icons Brooks & Dunn, Vince Gill and Toby Keith, all multi-Platinum-selling artists who are also award-winning songwriters, a boon to any performing rights organization's catalog.

"Thank goodness we have [people like] Kix Brooks, Ronnie Dunn and Toby Keith. They write, and they are constantly on the radio. That's good for our licensing," Williams said. "But we've got to be out there signing these new, meaningful writers, like Taylor Swift. She's having an impact on the radio. In a couple of years, we hope to brag that we've added significantly to BMI's bottom line by signing the lion's share of Nashville's best new writers."

Williams and his team are also searching for new songwriting stars in other genres. These days, for example, BMI boasts awards events that range from Country to Latin, from Urban to pop. Earlier this year, the company honored the popular Mexican band Los Tigres del Norte at its Latin festivities in Las Vegas.

Urban awards were also presented in September; Babyface, James Brown, Al Green and Isaac Hayes have been honored at this event in previous years. Similar presentations are made annually for Christian artists, gospel "Trailblazers" and achievements in film music.

"Our writer team has to be knowledgeable in all forms of music," Williams said. "We also take care of all the Christian music, the gospel music, the rock music. In terms of BMI's history, it was all about what wasn't mainstream at first, and then it became mainstream. If a certain kind of music is breaking out in a part of the country, you better get down there. We don't want to be scooped by our competition."

The word "competition" comes up frequently around BMI because, as Bryant puts it, "BMI is the organization that really introduced competition" into the U.S. performing rights business.

When BMI began, ASCAP was already in place, dominating the U.S. market at the time. Having BMI step in and make measurable inroads in the performing rights arena was unique in the performing rights world, Bryant said, not only in the United States but beyond its borders too.

"We still have a competitive nature that you don't really find in the belly of any other beast, other than perhaps the mythical competition between Hertz and Avis."

Yet BMI prides itself in its urge to excel, according to Bryant: "We don't sit around thinking about the competition. It's not important. What is important is that we do this better or that better. Our focus is the songwriter across the desk."

For the songwriter, choosing representation from a PRO often comes down to the paycheck, which is closely tied to the collection of music license fees from music users.

"I'm awfully proud that companies like BMI operate on a non-profit-making basis and provide access for businesses to easily license the entire BMI repertoire, enabling us to get the royalty fees back to the writers," Bryant said. "We do that with a fee structure that keeps the doors open, pays salaries and builds the technology for us to do it efficiently and effectively."

Technological innovations have changed the way the music business operates. While new music delivery systems, such as Internet music streaming and file sharing, have negatively impacted certain facets such as record sales, Bryant applauds technological advances.

"Thank goodness for technology," he said. "We have billions of performances today in the Internet world. We have thousands upon thousands of agreements with people who are streaming music. There has been an incredible proliferation of cable, satellite, ringtones and other new channels for music. Technology is absolutely a necessity in this world of expanding tonnage, number of performances and the complexity of the business. We could not handle this brave new world without the power and efficiency that technology provides."

BMI leaders are especially proud of one particular advancement: Landmark Digital Services, LLC, a wholly owned subsidiary, which is the home to the BlueArrow fingerprint technology.

This new technology will greatly expand BMI's ability to measure the performance of music on radio, television, cable, satellite and the Internet.

"Landmark is going to be one of the most important additions to BMI to come about in many, many years," Bryant said. "We've purchased the technology. We've built the software, the application and the infrastructure, and we continue to fill the library." Bryant credits Bob Barone, Managing Director of Landmark, and BMI COO/Executive VP John Cody for the success which Landmark is achieving.

Keeping BMI's culture open to embracing newness, whether updating technology or discovering writers, is key to the company's success, Bryant said. He closed with the thought that, "It has to be an open culture to be able to grab onto the next star that makes progress possible."

On the Web: www.bmi.com

   

Images for above article.

 

 

 

 
BMI songwriter Carrie Underwood celebrates her first self-penned No. 1 hit, "So Small." Underwood co-wrote the tune with BMI songwriter Luke Laird and Hillary Lindsey. (l-r) Chris Oglesby, President Oglesby Writer Management; co-writers Luke Laird, Hillary Lindsey and Carrie Underwood; Shelby Kennedy, BMI Director of Writer/Publisher Relations; Jody Williams, BMI VP of Writer/Publisher Relations; producer Mark Bright; Joe Galante, Chairman, Sony BMG Nashville; and Tammy Genovese, CMA CEO. photo: John Russell
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BMI songwriters and artists participate in acoustic shows during BMI's "Third Annual Country in the Caribbean" in Anguilla. (l-r) Jody Williams, BMI VP of Writer/Publisher Relations; Pat Green; and Mark Mason, BMI Director of Writer/Publisher Relations. photo: Sean Murray
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At the 55th Annual BMI Country Awards, Jeffrey Steele receives his second Country Songwriter of the Year title, while his song "What Hurts the Most" earns Song of the Year. Sony/ ATV Music Publishing Nashville is named Publisher of the Year for the sixth consecutive year. Willie Nelson receives the BMI Icon Award and is honored with musical tributes by Emmylou Harris, Toby Keith, Kris Kristofferson, Josh Turner and Keith Urban. (l-r) Del Bryant, President/CEO, BMI; Emmylou Harris; Keith Urban; Willie Nelson; Kris Kristofferson; Toby Keith; Josh Turner; and Jody Williams, VP of Writer/Publisher Relations, BMI. photo: Steve Lowry
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BMI toasts Josh Turner's No. 1 hit "Would You Go with Me," written by John Scott Sherrill and Shawn Camp. (l-r) John Scott Sherrill; Josh Turner; Shawn Camp; and Jody Williams, BMI VP of Writer/Publisher Relations. photo: Alan Mayor
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SESAC: Building Careers on Relationships
By Crystal Caviness

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Welcome to the 21st-century SESAC, where pride, excellence and continuous growth and development are the norm.

SESAC, founded in 1930, with headquarters today in Nashville and offices in New York, Los Angeles, Atlanta and London, is playing an aggressive role in the performing rights world.

During the past decade, under new ownership, SESAC has transformed into a leader among organizations that represent copyrights of songwriters and publishers while licensing music users throughout the nation. Many respected and prolific writers grace its roster, from Bob Dylan and Neil Diamond to urban innovators Bryan Michael Cox, Nate "Danja" Hills and Omarion, Latin music's Fonseca and jazz's Cassandra Wilson.

On the Country and Americana side, the company is in the midst of a string of hits, with two chart-topping songs from Rodney Atkins ("If You're Going Through Hell [Before the Devil Even Knows]," written by Sam and Annie Tate, 2006 SESAC Country Songwriters of the Year), Taylor Swift's first two singles ("Teardrops on My Guitar" and "Tim McGraw," both written by Swift and 2007 SESAC Country Songwriter of the Year Liz Rose) and strong showings from artists and SESAC writers Blaine Larsen, Lance Miller, Joe Nichols and Brian White.

As the first PRO to give awards in the burgeoning Americana format, SESAC bestowed honors to several artists and songwriters in the genre, including Peter Cooper, Bob Dylan, Ray Wylie Hubbard, Buck Jones, Kieran Kane, Dustin Welch, Kevin Welch and Walt Wilkins.

One key to SESAC's success was its decision 10 years ago to become the first performing rights organization to monitor performances through use of Broadcast Data Systems fingerprinting technology.

"In the early '90s, we embraced BDS with the mindset that we would continue to look at technology to help us do what we do even better," said Tim Fink, SESAC Associate VP, Writer/Publisher Relations. "And that still holds true today.  So when companies talk today about their new initiatives and employing technology to track performances, that's already part of our everyday attitude," he continued. "It's part of our business plan. We've employed new things specifically in tracking music in television jingles and commercials. We've utilized new technologies that have not been utilized elsewhere, to give the composers and songwriters a huge leg up in having their performances represented so that they don't have to go through the laborious paper trail of getting information any longer.

"It's all in an effort to be more efficient in how we go about collecting the money and distributing it back to our writers and publishers," Fink concluded.

In marshaling technology to serve the interests of its writers, SESAC launched its AdVantage Tracking System in July. This program combines data from Competitrack, which uses a proprietary fingerprinting technology, and DigSound (OTC DGSU), which tracks production music used in TV programming via a watermarking technology, to more accurately track and pay royalties for advertisements and promo performances on network, cable and local TV.

Boutique in size and selective in its affiliation process, SESAC embraces its differences from its industry neighbors as advantages, while staying in a state of continuous improvement.

"We're a dynamic company, growing in all aspects," said Pat Collins, SESAC President/COO. "Our size is most certainly an asset; it enables us to change. But that doesn't mean the things we did last week are things we should do next week. Our philosophy is that just because it's working, that doesn't mean it can't work better."

Consistent with its goals, SESAC is participating in a program run by Tennessee Center for Performing Excellence, a nonprofit organization dedicated to monitoring and encouraging businesses statewide to improve their efficiency and productivity. SESAC has passed Level 1 status and applied for ranking at the more advanced Level 2. This desire to improve reflects more than just the current state of affairs at the company.

"We are a proud organization," Collins asserted. "We're proud of our history. We're proud, most recently over the last decade or so, as to the protection of intellectual property. We've engaged with lawmakers of the United States to ensure that the rights of songwriters and publishers are protected and not encroached upon. We're proud of our exponential growth. We've grown dramatically in the number of charting songs we've had.

"We're also proud of our unique brand of service," he continued. "The fact that we're small is an asset at this company, because we can go the extra mile for our affiliates and potential affiliates. We can focus on people's needs. Most of the organizations can license and collect, and we certainly do that very well. But we have the ability, by our size, to give attention to songwriters and publishers."

That level of attention is crucial at SESAC, even to the point of advising writers to consider whether they've reached a point where it makes sense to affiliate with a PRO at all.

"Many people say the first thing you need to do as a songwriter is to affiliate with a performing rights organization," Fink said. "I say the first thing you need to do is build a relationship with a performing rights organization. The two sides of the business are the relationship and the representation of the performances. If neither of those two things is going to be represented, my opinion is that you don't need to affiliate with a performing rights organization. However, if you are able to develop a relationship, or if you are having performances that need representation, then in my opinion that is the time to become affiliated with a performing rights organization.

"The only reason you'd need to rush," he added, "is if you have performances on a regional level or public performances occurring where you cannot control the ability to license those performances. Then, you need a performing rights organization to represent those performances. Prior to that, it's about relationship: Where are you going to develop a relationship that is going to be a part of your career, with someone who will work with you as a songwriter to further your craft and get you to a point where you're generating revenue, where you're generating performances to be represented, where money can be collected for you?"

Relationship building, continuous improvement and a quest for excellence: As Collins sees it, that all points toward one smaller company whose growth in revenue and repertory exposure is escalating rapidly.

"Growth is an organic word," he said. "We've recently opened in Atlanta and Miami. We're expanding our Los Angeles presence, taking on another office. We're becoming bigger, but we're not losing sight of our values, of what distinguishes us - the special brand of service we offer. I guess that's what sets us apart."

On the Web: www.sesac.com

   

Images for above article.

 

 

 

 
Artist and co-writer Rodney Atkins with son Elijah Atkins; Brian White, SESAC co-writer; and Tim Fink, SESAC Associate VP, Writer/Publisher Relations at SESAC party to commemorate No. 1 success of "Watching You." photo: Kay Williams
Photo: See Caption

 

At the 2007 SESAC Nashville Music Awards Liz Rose ("Tim McGraw," "Teardrops on My Guitar") is named Songwriter of the Year; "Watching You" (Brian White) is named Song of the Year; and Publisher of the Year honors goes to Hillsboro Valley Songs, Sony/ATV Timber Publishing. (l-r) Tim Fink, Associate VP, Writer/Publisher Relations, SESAC; Brian White; Pat Collins, COO/President, SESAC; songwriter Liz Rose; and Trevor Gale, VP, Writer/Publisher Relations, SESAC. photo: Ed Rode
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SESAC writer Brian White; Tim Fink, SESAC Associate VP, Writer/Publisher Relations; SESAC songwriters Liz Rose and Adam Shoenfeld; SESAC Directors, Writer and Publisher Relations Shannan Neese and John Mullins; and SESAC writer Monty Powell at SESAC Tin Pan South showcase. photo: Kay Williams
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Nashville music executives attend annual Towne Hall Meeting and Brunch at SESAC to discuss state of legislation concerning copyright protection and intellectual property. (l-r) Mike Dungan, President/CEO, Capitol Records Nashville; Pat Collins, SESAC President/COO; Tim Wipperman CCO, Equity Music Group; Rep. Marsha Blackburn (R-Tenn.); Fletcher Foster, Senior VP/GM, Universal Records South; Dennis Lord, SESAC Executive VP; SESAC writer Annie Tate; Tim Fink, SESAC Associate VP, Writer/Publisher Relations; and SESAC writers Monty Powell and Brian White. photo: Kay Williams
Photo: See Caption

 

 

 

Issue Date: 12/18/2007  
bulletCMA International Awards Presented to Georges Lang, Trisha Walker-Cunningham and Dwight Yoakam
bulletJace Everett's Ramble through the United Kingdom
bulletCourtney Drake Receives 'CMA Close Up' Award of Merit
bulletStorme Warren Receives CMA Media Achievement Award
bulletWalter Miller Receives CMA President's Award
CMA International Awards Presented to Georges Lang, Trisha Walker-Cunningham and Dwight Yoakam
By Bob Doerschuk and Bobbi Boyce

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.
 
Three distinguished members of the Country Music community were honored in Nashville in November with CMA International Awards. The recipients - veteran French broadcaster and producer Georges Lang, concert promoter Trisha Walker-Cunningham and celebrated artist Dwight Yoakam, represent diverse corners of the industry, yet all three are united by their commitment to the continued growth of Country Music worldwide.

Lang, a pillar of French media for 40 years and a high-profile personality on RTL France since the early '70s, received the CMA International Country Broadcaster Award, which recognizes outstanding achievement by radio broadcasters outside of North America who have made important contributions toward the development of Country Music in their country.

Walker-Cunningham, head of Nashville-based Trisha Walker International, received the CMA International Talent Buyer/Promoter of the Year Award, which honors those who have promoted at least two concerts of Nashville-signed artists over the previous 12 months.

Yoakam, who has carried his variation on the "Bakersfield Sound" personally and frequently to audiences throughout Europe, Japan and Australia, was presented with the CMA International Artist Achievement Award, known formerly as the CMA International Touring Artist Award and given to artists who have significantly contributed to the awareness and development of Country Music outside of North America.

"I am so happy to receive this International Country Broadcaster Award," said Lang. "It means so much to me. I want to thank CMA and everybody who voted for me. It has always been my love of Country and my passion for this most popular American music format that lead me to do this exciting job. I also want to thank all my different bosses who let me produce and present a Country show on the largest radio station in France. Thank you also to my listeners, as this Award is for them too."

Lang made his first radio broadcast while on assignment to Beirut in 1967. On his return to France in 1969, he rose quickly through a series of radio and television programs as producer and on-air personality. Lang has created and hosted a number of Country-themed series, including "New Country TV" for CanalWebTV and "WRTL-Country" and the daily "La Collection Georges Lang" radio show for the RTL network, as well as specials that focused on Johnny Cash, Emmylou Harris, Waylon Jennings, Willie Nelson, Randy Travis and many other artists. A regular at the annual CMA Music Festival since 1983, he has covered every CMA Awards for RTL since 1990. CMA's Wesley Rose International Media Achievement was presented to Lang in 1995.

"I want to thank everyone at CMA for this highest honor," said Walker-Cunningham. "I am extremely humbled to be included with the other talented professionals who have won this prestigious award. Thanks to all the artists, managers, agents, publicists and publications who support me and the events I work with. Without you, there would be no international festivals and tours. I will continue to do my very best to make all the overseas experiences through my company a happy and memorable one that furthers careers and brings new fans to Country Music."

Born in Singapore and raised in Cypress and England, Walker-Cunningham is a fixture in Nashville's Country Music community. She has worked with artists from Johnny Cash, George Jones and Tammy Wynette to more recently the CherryHolmes, Riders In The Sky, LeAnn Rimes, Julie Roberts, Randy Travis and Rhonda Vincent. For 19 years, Walker-Cunningham has booked the Gstaad Country Nights Festival in Switzerland and, for 20 years, the Country Rendez-Vous Festival in France. The first recipient of CMA's Jo Walker-Meador International Award, Walker-Cunningham has also received honors from two Tennessee governors and two Nashville mayors. Jan. 5, 1985, was officially designated "Trisha Walker Day" in Nashville.

"Both Georges and Trisha work year-round to spread the Country Music message globally," said Jeff Walker, Chairman of the CMA Global Markets Committee and President of AristoMedia. "Their longevity in the business and their accomplishments make them both deserving recipients of these awards."

Since 1986, when he released his debut album, Guitars, Cadillacs Etc., Etc., Yoakam has performed in France, Germany, The Netherlands, Scandinavia and the United Kingdom. Five major international tours followed, with Australia, Ireland, Italy, Spain and Switzerland added to his itinerary and highlights that include a performance in 1992 before 30,000 fans at one show in Japan.
"Well, I've been very fortunate," said Yoakam. "I had great support from Warner Bros. Records throughout the world when we broke. They were very aware that to keep Country Music growing, they wanted their young artists to continue to go overseas. They were very supportive of that. I've reaped great rewards from having fans all around the world. I was very, very honored that CMA would give me that Award tonight."

"With Dwight's many interests and talents, he has been a tremendous ambassador for this format through his music, his concerts and his numerous movie and television appearances," said CMA CEO Tammy Genovese, who joined with BBC Music Entertainment Executive Producer Mark Hagen to give the Award to Yoakam during "The 41st Annual CMA Awards" pre-telecast ceremony on Nov. 7 at the Sommet Center in Nashville. "He is an extremely deserving recipient of this honor."

Previous winners of all CMA International Awards are listed at www.CMAworld.com/international/awards/asp.

   

Images for above article.

 

 
   
Georges Lang and Trisha Walker-Cunningham receive CMA International Awards during a luncheon ceremony on Nov. 8 at The Palm in Nashville. (l-r) Ed Benson, CMA CSO; Bobbi Boyce, CMA International Director; Georges Lang; Trisha Walker-Cunningham; Tammy Genovese, CMA CEO; Jo Walker-Meador, former CMA Executive Director and Country Music Hall of Fame member; and CMA Board Member and Chairman of CMA Global Markets Committee Jeff Walker, President, AristoMedia.
Photo: Amanda Eckard / CMA

 

BBC Music Entertainment Executive Producer Mark Hagen and CMA CEO Tammy Genovese present the CMA International Artist Achievement Award to Dwight Yoakam during the pre-telecast ceremony at "The 41st Annual CMA Awards" on Nov. 7 in Nashville at the Sommet Center.
Photo: John Russell / CMA

 

   

Jace Everett's Ramble through the United Kingdom
By Jace Everett

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

After two trips with the CMA-sponsored New From Nashville U.K. tour, I decided the time was right to make a push toward the international market on my own. My first solo trip - with the truly great Dierks Bentley, no less - was a great success for me and a real eye-opener to untapped opportunities. The second, with the lovely Miss Julie Roberts, sealed the deal. After that, I decided to make a new record.

This one would be stripped down: two guitars, an upright bass and my voice. It's amazing how much fun I had working this way.

Old New Borrowed Blues, on my own Haywood label, was from its inception a vehicle to take to the international market. Without ever thinking of radio or Wal-Mart, we created something unique. It is the best representation, thus far, of where I'm at as an artist.

With help from Paul Fenn of Asgard Promotions and the kindness of Guy Clark, a tour was booked. Throughout September, Chris Raspante, my guitar-playing partner, and I drove 3,000 miles within the United Kingdom. We played 16 shows, seven of which were with Clark. Highlights were many; here are a few:

FIRST DAY

The first thing you need to know is that we did this tour on a shoestring - mine, and I usually wear boots. This means that I would be the singer, the songwriter, the tour manager and, unfortunately, the driver too.

After landing at Heathrow Airport, we went to get the rental car - a stick shift, to save on fuel, since while we complain about paying $3 for a gallon of gas, most of Europe pays about $7 per gallon. Then there's the fact that the stick and the wheel are on the right side of the car, which of course is wrong. Being jet-lagged doesn't make the idea of driving into the heart of London any less intimidating either.

So Chris suggested that we find a Safeway parking lot and practice. That turned out to be a good idea, since I hit the left curb three times before we'd even gotten out of the airport.

The 45-minute trip took about two hours, as the Brits have a habit of putting their road signs not on a pole at each intersection but on the sides of buildings about 30 feet away. You've never heard two Texas boys swear as much as Chris and I - yet, still, we made it out alive.

FIRST SHOW

After a six-hour drive from London to Llandudno, Wales, we arrived at our hotel, a really cool B&B called the Hotel Carmen. Unfortunately, B&B hotels aren't really geared for post-midnight arrivals, and the good innkeeper was a little bleary-eyed when we arrived. The next day we had a great show, though, with the lovely Gail Davies, who was a real pleasure to get to see.

FIRST GUY CLARK SHOW

Wow, this was intimidating. I've known Guy for about five years. We've written a few songs and had a little tequila down in his workshop. His latest studio album, Workbench Songs, is really great, and I was looking forward to hearing some of my favorite classic Guy Clark songs as well.

He delivered it all, in spades. The venue was in Sheffield. The crowd was great. I was a little concerned that I might be too bluesy or for that matter just too dumb for his crowd. Blessedly, they embraced me and my music - and that turned out to be the tone of the whole tour. I can't believe how many Guy Clark fans now have a Jace Everett album in their collection. Lucky beats good.

INTERESTING MOMENTS

Getting completely lost leaving Edinburgh was fun, even though Chris and I almost pulled over to have a fistfight with each other. When you've been friends as long as we have, it's like being brothers. We love each other to death. And sometimes we want to choke each other to death. (Don't worry, no humans were harmed in the making of this tour.)

Another great moment, and this one really was great, was seeing Chuck Prophet play in Leeds. He's an amazing Americana/rock 'n' roll/folk/soul Telecaster-slingin' genius.

We also got to play with some fantastic local artists: Sam Barrett, Stephen Maguire, John Moray, Dean Owens and Rachael Warwick, to name a few.
It was fascinating to see the respect that the fans show for artists in the U.K. There are courteous and knowledgeable folks from Bristol to the Highlands, and they're hungry for quality American music.

I'll never forget driving down the motorway, seeing coal mines, castles, wind turbines, amazing rivers and streams, sheep everywhere, the greenest grass in the world - and doing it all from the wrong side of the road.

Every day was a sensory overload. Then we'd pull up somewhere and play. It made me feel like a 20-year-old kid again: no bus, no manager, no wondering where the single was at on radio, just the shows and the road in between.
I can honestly say this was a life- and art-affirming experience. I know now more than ever what I need to be doing. And how.

Thanks to CMA and specifically to Tammy Genovese, Bobbi Boyce and Jeff Walker. Without their belief in me, this tour and the next stage of my career might not be possible.

So what's next? Paris!

On the Web: www.jaceeverett.com

   

Images for above article.

 

 

 
 
Jace Everett performs at the Entertainment Shed in Bedford on Sept. 14. Photo: courtesy of CMA / Karen
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Jace Everett performs at London's Bloomsbury Theatre on Sept. 20. Photo: courtesy of CMA / Karen
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Jace Everett performs at the Zebra Bar in Maidstone, Kent UK on Sept. 24. Photo: courtesy of CMA / Karen
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Courtney Drake Receives 'CMA Close Up' Award of Merit
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

The first annual CMA Close Up Award of Merit has been presented to Courtney Drake, a journalism major at Belmont University, in recognition of the creativity, dedication and potential she demonstrated while covering the 2007 CMA Music Festival as a volunteer student journalist.

Drake was singled out from among the talented student volunteers, each recommended by their department head in journalism or equivalent programs at a university or college in the Nashville area. Her work, along with that of her colleagues, was posted throughout the Festival and may be viewed at www.CMAfest.com.

"As exceptional as all our student volunteer reporters were at covering the 2007 CMA Music Festival, Courtney stood out as a result of her dedication, quick comprehension of her assignments, resourcefulness, willingness to adapt to constantly changing demands, and of course her ability to craft stories that were both evocative and clear under great deadline pressure," said CMA Close Up Editor Bob Doerschuk. "Quite obviously, she can look forward to enjoying a long and successful career in journalism."

Drake, who currently edits the Belmont Vision student newspaper as a senior, covered the CMA Awards for the publication from the backstage press room at the Sommet Center on Nov. 7.

Her love of Country Music inspired her to move from her native Michigan to Nashville to further her education and interest in music journalism. Drake has also worked as a freelance intern writer for The Tennessean daily newspaper in Nashville where she developed articles for the education and religion sections.

"CMA is proud to foster up-and-coming music reporters and critics by giving them the tools and opportunities to practice their craft," said CMA CEO Tammy Genovese. "We wanted to honor Courtney's exemplary work in an effort to recognize excellence in entertainment journalism and encourage the next generation of writers."

As for Drake's long-term career goals, her work with CMA Close Up has definitely made an impression.

"Long-range, I'd love to work for a Country Music magazine," said Drake. "Maybe CMA Close Up!"

   

Images for above article.

 
     
CMA Close Up Editor Bob Doerschuk (l) and CMA VP of Communications Wendy Pearl (r) present Courtney Drake with the CMA Close Up Award of Merit in the backstage press room during "The 41st Annual CMA Awards" on Nov. 7 at the Sommet Center in Nashville. photo: Drew Maynard
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Storme Warren Receives CMA Media Achievement Award
By Wendy Pearl

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Television veteran Storme Warren, host and co- Executive Producer of "Country Music Across America" on Great American Country (GAC), received the CMA Media Achievement Award from CMA CEO Tammy Genovese in a surprise presentation on the Red Carpet prior to the CMA Awards at the Sommet Center in Nashville.

Warren was in the midst of producing "Country Music Across America's" coverage of the star-studded event when Genovese surprised him with the news.

"Shocked doesn't begin to express my emotions," said Warren. "I've always just felt lucky to have the opportunity to get close to the Country Music community. Now to be honored for doing something I absolutely love.yep, I'm stunned. Very blessed but stunned. CMA helped raise me in this business and they've been very patient parents."

The CMA Media Achievement Award was established to recognize outstanding achievements in the media as they relate to Country Music. Print and Internet journalists, columnists, authors, editors, syndicated radio reporters, television writers, producers and bookers are eligible to win this award.

CMA member publicists nominate media candidates for consideration. The top five nominees are collected and sent to the publicist panel for a second round of voting. The overall winner is presented to the CMA Executive Committee for approval.

"Storme is very deserving of this honor," said Genovese. "He routinely goes above and beyond the call of duty and has built meaningful relationships with our artists and publicists. He has a personality that puts everyone at ease, but he is also a thought-provoking and prepared interviewer."

Growing up in Tulsa, Okla., Warren began his career in radio, answering request lines and pulling music for the disc jockeys at Tulsa radio station KELI in return for free albums and concert tickets. When his family relocated to Southern California, Warren continued his radio career with part-time positions at KCAQ/Oxnard and later at Country Music station KCZN/Ventura and KQLE/Hollywood.

Following high school, Warren enrolled at California State University Northridge, where he worked as a freelancer for CNN. He later joined CNN Los Angeles full-time as a camera operator and quickly worked his way up the ranks, becoming a segment producer for the entertainment news show "Showbiz Today."  Warren then moved to Nashville, where he worked as a segment producer and on-camera talent for Jim Owens & Associates, a long-time producer of Country Music-related programming for TNN. 

In 2002, Warren teamed with veteran Country Music artist managers Larry Fitzgerald, Mark Hartley and Nashville television producer Greg Travis to found Different Drummer Productions, LLC., and partnered with GAC to produce "Country Music Across America." The program, which premiered on GAC in November 2003, delivers a weekly digest of artist profiles and Country Music news worldwide. As on-air host, Warren enjoys introducing emerging talent to his viewers and maintaining the show's fresh, personal appeal that has resonated so well with its growing national and international fan base.  In November, the show celebrated its fourth anniversary and 100th episode.

Warren lives in Nashville with wife, television producer Allison Warren and their two sons. He is an active steward in the Nashville community, serving as board member for the T.J. Martell Foundation for Leukemia, Cancer and AIDS Research.

Winners of the CMA Media Achievement Award include:
1982  Jack Hurst
1983  Neil Hickey
1984  Dolly Carlisle
1985  Red O'Donnell
1986  No Award  
1987  Dave Zimmerman
1988  Bob Oermann
1989  Bob Claypool  
1990  Dick Heard
1991  (award not presented)
1992  Mark McEwen
1993  Lynn Lester
1994  Judy Massa
1995  Clay Smith  
1996  Tisi Aylward
1997  Jay Orr
1998  Chet Flippo  
1999  Hazel Smith
2000  Neil Pond
2001  Harry Chapman  
2002  Jim Patterson
2003  Denise Quan
2004  Alanna Nash  
2005  Mark Bracco
2006  Donna Hughes
2007  Storme Warren

   

Images for above article.

 
     
CMA CEO Tammy Genovese presents Storme Warren with the CMA Media Achievement Award on the Red Carpet at "The 41st Annual CMA Awards" on Nov. 7 at the Sommet Center in Nashville.
Photo: John Russell / CMA

 

     

Walter Miller Receives CMA President's Award
By Wendy Pearl

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

During CMA Board of Directors meetings in October, CMA Board President Clarence Spalding surprises longtime CMA Awards Producer Walter C. Miller with the CMA President's Award. Given annually at the discretion of the Board President, this distinction honors its recipient's outstanding contributions to Country Music and/or CMA.

Spalding praised the personal sacrifice, creativity and dedication that Miller has demonstrated during his 37-year stewardship of the CMA Awards broadcast.

"Walter's contributions to the CMA Awards can be felt in every detail and second of the program," Spalding said. "He has dedicated himself to delivering an Awards broadcast that reflects the best of our industry and the artists. He cares deeply and protects the prestige of the program absolutely."

"I suppose 'thank you' is enough," said a stunned Miller, "because once you turn me on, you can't turn me off." Known for his dry wit and sarcastic humor, he quickly added, "If I had a heart, I'd cry." 

Miller began his association with the CMA Awards in 1970 and through the years, he has contributed to the careers of Country Music's biggest luminaries - from Johnny Cash to Vince Gill, Dixie Chicks to Dolly Parton. Along the way, he has created indelible television in the name of Country Music. He was named Executive Producer of the CMA Awards in 2005.

In addition to a 37-year relationship with the CMA Awards, Miller's credits include the Grammy Awards, the People's Choice Awards, "A Capitol Fourth," a longtime turn with the Tony Awards (which yielded a pair of Emmys), "Comic Relief," and specials for such stars as George Burns, John Denver, Bob Hope, Sam Kinison, Barbra Streisand, and Andy Williams. Miller's many accolades include three Directors Guild Awards, two Peabody Awards, five Emmy Awards and 20 Emmy nominations.

"Walter respects the traditions and protects the roots of Country Music while keeping a keen ear and eye focused on our future," said CMA CEO Tammy Genovese. "A sense of humor, a passion for creativity and a deep love of music is at the heart of what Walter creates each year for the CMA Awards."

After nearly four decades, Miller knows Nashville's creative heartbeat as well as anyone. He created a setting suitable for Country's Mount Rushmore of Johnny Cash, Waylon Jennings, Kris Kristofferson and Willie Nelson. He gave Mary Chapin Carpenter her big break, singing about the indignities of being the "Opening Act." When the nation needed help healing after the September 11th terrorist attacks, he programmed Alan Jackson's hushed performance of "Where Were You (When the World Stopped Turning)."

Whatever unique, timely element Country Music had to offer in any year, Miller inevitably recognized it and made it part of the CMA Awards in an appropriate and meaningful way.

   

Images for above article.

 
     
During CMA Board of Directors meetings in October in Nashville, CMA Board President Clarence Spalding (l) surprises longtime CMA Awards Producer Walter C. Miller with the CMA President's Award.
Photo: Amanda Eckard / CMA

 

 

 

Jack Ingram Ponders Life's Lessons on 'THIS IS IT'
By Holly Gleason

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

"This world is tough and we all know it," said Texas firebrand Jack Ingram, unapologetically. "Music is my touchstone. For me, songs that turned a line never made me cry, but songs about people's lives ."

His voice, raspy from throwing his whole soul at what he sings and then talking about it to anyone who'll listen, drifted off. He didn't need to complete the thought. It was, after all, obvious.

The truth is that with his first No. 1 for last year's "Wherever You Are," stints opening for Brooks & Dunn, Sheryl Crow and Brad Paisley, his upset win of the CMT "Wide Open Video of the Year" for the Top 10 single "Love You," anointment from Mediabase as Most Played New Artist of 2006, and This Is It, his breakout Big Machine Records album, debuting in the Top 5, whatever Ingram is doing seems to be working.

It's hard to believe it began with a friend's father's copy of Willie Nelson's Red Headed Stranger, which Ingram heard when he was just 17. "That was all we listened to for two straight weeks," he remembered. "Very simple but very, very real - and the more you listen, the more that stuff cuts through all the circumstances, right to the basic emotion."

Distilling the essences of life has been Ingram's standard since he signed with Rising Tide in 1996 and later with Sony/Lucky Dog Records, which in 1999 released his album Hey You featuring the snarling "Mustang Burn" as well as "Biloxi," a jagged song of reckoning from an abandoned teenage son to a returning father. But this once brash young man, now a tawny-haired guitar slinger, is seeking broader truths.

It's not so much that he's mellowed. Rather, he's lived and, in living, seems to have found a deeper place from which to write and record.

"The thing I experienced when I heard Red Headed Stranger, or Born to Run, or Guy Clark for the first time is that sense of immediacy, the realness of it," he explained. "I want people to experience that when they hear my records."

Certainly his more recent hit single, "Measure of a Man," moves beyond the bitterness of "Biloxi" toward resolution as the song's hero realizes that wisdom can be achieved by striking out on his own, putting his faith in another and knowing there are many paths and truths on the way to adulthood. It also proves that growing up and settling down don't necessarily mean giving up one's edge.

Always a Texas maverick, Ingram drew from Nashville's top session players for This Is It, a move akin to burning the Lone Star flag in certain circles back home. "How do you go in there without walking over the line?" he remembered thinking. "These are the best players in the world, but what I want is their emotion. If I could get them to feel it, then I knew I was going to be fine."

Whether embracing the complicated, sexually tangled triangle of the Oklahoma band Hinder's "Lips of an Angel" or the raving kiss-off "Love You" (which means anything but), Ingram found ways to incinerate a dozen songs about a fully engaged life. It's not preaching, nor is it empty swagger; it is, simply, the view from where Ingram stands.

"I first saw Jack when Rising Tide brought a bunch of us out to a showcase in Arizona," said Lon Helton, Country Aircheck publisher and host of "Westwood One's CMT Country Countdown USA." "And you could tell then, it wasn't a matter of if but when. He always knew how to connect with people. It was just a matter of getting him on a label where they understood what he did and had the time to devote to getting it across to the audience."

Until then and to this day, Ingram has roamed between what's considered mainstream Country and the roots high ground that artists such as Crow inhabit.

"Sheryl's audience reacted exactly like mine did for the 10 years previous to this current step," Ingram said. "Her audience buys Johnny Cash's American Recordings, and I think when they saw us, they were connecting with that part of what we do. They recognize the roots of my music from the most basic places."

And also the most personal places: This Is It includes "Ava Adele," a pretty ballad that seems like the ultimate love song to a woman with the power to bewitch. In a way, that's true, since Ingram wrote it about his daughter.

"I know," he said, laughing over the fact that even angry young men can embrace sentimental realities. "It's funny coming from the guy who wrote 'Biloxi,' the guy who used to make fun of those kinds of themes. But I think I'm talking a lot about commitment and being there for your people. That is pretty universal, whether you're blue collar, white collar or no collar."

That willingness to evolve, to embrace life's deeper moments, intensifies what Ingram does.

That seems to be true for Ingram, whose career has unwound over pretty extreme peaks and valleys. There were times, especially in the wake of his Sony/Lucky Dog deal evaporating, when he had to walk on faith, believing there was something worth pursuing just around the bend.

"Every time the transmission blew, the engine broke down or the gig sucked, there'd be two people who got it," he recalled, speaking with the vehemence that informs so much of his music. "Two out of the five folks some nights - and those people kept me coming back, playing music, believing in the dream.

"I saw so many folks who were on the radio who didn't care like that, selling millions of records - and they didn't mean it. Sitting outside my mechanic's office, I remember thinking, 'I am not going to be that guy.' For the most part, it was passion, remembering those two people. But that kept me playing when there was no reason.

"And I knew I was right," he insisted, recognizing now that his hope wasn't grounded in illusion. Then he laughed and admitted, with a rakish turn in his voice, "That's where the spite comes in. If it kills me, I'm gonna prove I'm right."

On the Web: www.jackingram.net

   

Images for above article.

 

 

 
 
Jack Ingram; Big Machine Records; Photo: David McClister
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Jack Ingram; Big Machine Records; Photo: David McClister
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Jack Ingram; Big Machine Records; Photo: David McClister
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NEW ARTIST SPOTLIGHT: Jason Isbell
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

There are already plenty of Jason Isbell fans who have come to appreciate his writing, singing and playing within a three-guitar attack during his run with Southern rock mainstay Drive-By Truckers. These listeners will hear something different in his solo debut on New West Records, Sirens of the Ditch: 11 original songs written by Isbell that add up to a more personal sound, with a wider range of emotion and a subtle sense of exhilaration that comes from striking out on your own.

This last quality is evident from the first seconds of the opening track and single, "Brand New Kind of Actress," with its no-nonsense drum beat and grungy guitar hook. His voice, rough and dusty as a Country road winding outside his hometown of Muscle Shoals, ties the diverse elements of the album together and brings each lyric to life, whether through reciting a mournful paean for young lives lost in "Dress Blues" or evoking classic R&B balladry on "Hurricanes and Hand Grenades."

Raised in a musical family in one of America's most musical towns, Isbell grew up in a community that was used to seeing Duane Allman, Aretha Franklin, Otis Redding and other giants pull up to FAME Studios, also where Isbell recorded his album, to lay tracks with David Hood and Spooner Oldham, local guys who happened to be members of one of the hottest studio rhythm sections on Earth. They're among the artists who appear on Sirens of the Ditch too - a gesture that says as much about the endurance of soulful music in northern Alabama as it does about Isbell's right to a place within that tradition.

IN HIS OWN WORDS

Who is your musical hero?
"Neil Young. He always seems to do exactly what he wants."

What book is on your nightstand?
"I'll Sleep When I'm Dead, by Crystal Devon (Warren Zevon bio)."

What song do you wish you had written?
"'Room at the Top,' by Tom Petty. I'm glad I didn't have to go through what he was dealing with when he wrote it, though. That's usually the case with my favorites."

What phrase do you find yourself saying over and over again?
"Stop apologizing."

What mode of transportation do you prefer?
"Prevost XLIIs with a Ducati in the trailer."

On the Web: www.jasonisbell.com

   

Images for above article.

 
     
Jason Isbell; New West Records; Photo: Trent McGinn & Hilary Wash
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NEW ARTIST SPOTLIGHT: Sarah Johns
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Like the sound of her music, the story of Sarah Johns is classic. Raised in a fly-speck Kentucky town, with a father so strict that she was punished when caught listening to a Faith Hill album, Johns learned to raise her head and sing in church before mastering the art of telling life's sad and joyful tales by singing a Country song.

Johns didn't start performing until after she'd enrolled at the University of Kentucky at Lexington, but a long residency at Regatta's seafood restaurant sharpened her skills to the point that she felt good about quitting school, bidding her boyfriend adieu and heading down to Nashville to build a career from scratch.

Eventually she won an invitation from Toby Keith's manager, who had caught her act back at Regatta, to do two songs on one of his client's tours. She chose a pair of originals, the rollicking "When Do I Get to Be a Woman" and the kiss-off anthem "The One in the Middle," probably the rowdiest celebration of a particular finger set to music in recent years.

The response she earned led straight to a record deal with BNA Records and a debut album, Big Love in a Small Town, produced by Joe Scaife and loaded with both of those barn-burners plus nine more songs that include a wickedly funny ode to love at first sight ("He Hates Me") and power ballads ("Touch Me" and "Baby My Heart") that add raw physical spice into her formula for romance. All of these bear her co-writing credit and reflect the promise that Johns has lots more to say with her pen, her voice, her country-bred charisma and maybe that middle digit every now and then.

IN HER OWN WORDS
What CD is on your stereo?
"George Jones' My Very Special Guests. I warm up my voice singing along with this album."

Who is your dream duet partner?
"Loretta Lynn, because I'm as feisty as she is."

What's your pet peeve?
"People who don't give 100 percent."

What word or phrase do you find yourself saying over and over again?
"What city are we in?"

Do you have a lucky charm?
"A horseshoe ring that my father gave to my mom on the day I was born - oh, and a push-up bra."
On the Web: www.sarahjohns.com

   

Images for above article.

 
     
Sarah Johns; BNA Records; Photo: Russ Harrington
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NEW ARTIST SPOTLIGHT: Angela Hacker
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Battling to the top on this year's "Nashville Star," Alabama-born Angela Hacker emerged as a prototype for the modern Country chanteuse: Her voice was raw, switching from tenderness to gut-wrench passion on a dime. Onstage she radiated charisma yet resembled the girl next door. She seemed ready to take on the world, including her brother Zac; they were the last two contestants standing, but when Angela emerged as the winner, no one could miss the love and pride that each harbored for the other.

The dust had barely settled before Hacker's debut, produced by Nathan Chapman and Tracy Gershon, hit the display racks. The Winner Is Angela Hacker: Nashville Star Season 5 is the culmination of a story dating back to childhood appearances at talent shows and festivals. She and Zac grew up on a diet of live Country rock, courtesy of their father's band. By age 13 she was leading her own group and well on her way to a young life spent selling cars, waitressing and doing whatever day work had to be done to allow her to play the bar circuit at night.

Hungry for a more fulfilling creative life, she began writing with James LeBlanc - two of their songs can be heard on the album - before signing a publishing deal with Rick Hall Music and auditioning for "Nashville Star." Her performances, all the way to her showdown with Zac, tempered a gig-toughened professionalism with the grit one picks up on the rougher roads through life, not to mention a rich residue of soul that comes from paying dues around her hometown of Muscle Shoals.

Her gutsy personality comes into full view through the decision to follow Aretha Franklin and Barbara Mandrell to the well of "Do Right Woman, Do Right Man" - and to bring it back with a taste of something that's already all her own. Forget "Season 5," Hacker is obviously a winner for many seasons to come.

IN HER OWN WORDS

Who is your musical hero?
"The Outlaws: Merle, Willie, Waylon and Kris."

What CD is on your stereo?
"A compilation of originals by me and other writers I know, studying songs for my next album."

Who is your dream duet partner?
"My brother Zac and James LeBlanc."

What song do you wish you had written?
"'I Hope You Dance.'"

On the Web: www.angelahackeronline.net

   

Images for above article.

 
     
Angela Hacker; Warner Bros. Nashville; Photo: Glen Rose
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NEW ARTIST SPOTLIGHT: Rissi Palmer
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

When Rissi Palmer invites all the women in the house to "clap your hands . show the world you're a Country girl," she's doing more than delivering a show-stopping vocal over a stomping, fiddle-lashed groove. She's actually practicing what she preaches.

That's the main reason why the world didn't get the chance to know her first as an R&B superstar. That opportunity beckoned when legendary producers Jimmy Jam and Terry Lewis invited her into their stable of big-time clients, which at that time included Boyz II Men, Mary J. Blige, Mariah Carey, Janet Jackson and Michael Jackson.

But as a finalist in "Star Search" in 2003, the glitzy talent hunt phenomenon of the 1980s and early '90s that CBS-TV had revived, she found her true path, thanks to a few simple words from celebrity judge Naomi Judd: Awarding Palmer the maximum score of five stars, the Country legend said, "There are only two kinds of music, good and bad - and Rissi is good."

That's made clear on her self-titled debut featuring nine songs written or co-written by Palmer. The swaying romanticism of "Hold Onto Me," thoughtful introspection of "Anybody Out There" and irresistible strut of "Country Girl" testify to Palmer's refined, soulful singing. But her writing chops are just as evident, making it no surprise that one of her songs, "Faith," was included in the soundtrack for the Miramax film "The Woodsman" in 2004.

For all the travels she's taken, creatively and personally, from the talent shows of her teenage years in St. Louis to the publishing deal she signed with Song Planet in Nashville at age 20, she presents her message with the assurance you'd expect from a down-home Country girl on her way to the big time.

IN HER OWN WORDS

Who is your musical hero?
"I admire Dolly Parton and Barbra Streisand. They both have had amazing careers, succeeding in music and film, and in Dolly's case, songwriting. And they still do it today. They have longevity, and that's what I want."

Which song would you secretly like to cover?
"'Sweet Lorraine' by Patty Griffin. That song gave me chills the first time I heard it."

What is your pet peeve? 
"People who won't let you over in traffic."

What CD is on your stereo?
"I have a six-CD disc changer: Mindy Smith, Patty Griffin, Sugarland, Craig Morgan, Robin Thicke and me."

What actor would portray you in a biopic about your life?
"Someone with really curly hair."

What moment in your life would you relive if you could? 
"Any time spent with my mother."

Do you have a lucky charm?
"My yorkie, Jeremiah."

Which mode of transportation do you prefer - planes, trains or automobiles?
"I love the loud engine of my Mustang."

Who is your dream duet partner?
"Vince Gill or Jamie O'Neal."

On the Web: www.rissipalmer.com

   

Images for above article.

 
     
Rissi Palmer; 17.20 Entertainment; Photo: Jimmy Bruch
Photo: See Caption

 

     

NEW ARTIST SPOTLIGHT: Halfway to Hazard
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Long journeys start with a single step. For David Tolliver and Chad Warrix, the urge to explore began with the occasional short trip to Hazard, whose movie theater and fast-food stands beckoned to those from even smaller Kentucky towns not far away.

From there they made their ways to Nashville. Warrix came first, to study at Belmont University. Tolliver lingered for a while, working a restaurant job to pay for classes at Hazard Community College and the University of Kentucky at Lexington. Purely on impulse, he hung up the apron one night in 1998 and headed for Music City, right around the time that Tolliver secured his music industry degree. Fate, played here by the manager of Warrix's band, brought them together.

Working a regular Tuesday night gig at Nashville's 3rd & Lindsley, they honed a tough Country sound, with a gritty rock inflection and harmonies that cut sweet and strong at the same time. Their following grew to include influential A&R scouts, but when Tim McGraw took note, the die was cast and they settled at StyleSonic/Mercury Nashville.

With McGraw and Byron Gallimore producing, their self-titled debut benefits from both a high-profile blessing and sure-fire studio sensibility. But the focus is on the artists, whose raw, fist-pumping delivery suggests how The Who's Roger Daltrey might have rocked it had he cut his teeth in dixie. Bass and drums add muscle to the duo synchronicity at the heart of their music. As for their songs, all but two of which were written by Tolliver and Warrix, suffice it to say that "Country 'Til the Day We Die" might match Skynyrd at the peak of their defiance, passion and pride.

And for anyone tempted to follow in their footsteps, "Welcome to Nashville" closes the album by delivering this twist of ironic wisdom to a body-slam beat: Halfway to Hazard just might be as far as you need to go to follow your dream.

IN THEIR OWN WORDS

Who is your musical hero?
TOLLIVER: "Garth Brooks."
WARRIX: "Led Zeppelin, George Jones."

What song would you secretly love to cover?
TOLLIVER: "'Big Bottoms' by Spinal Tap."
WARRIX: "'Bohemian Rhapsody.'"

What book is on your nightstand?
TOLLIVER and WARRIX: "The Bible."

What CD is on your stereo?
TOLLIVER and WARRIX: "Let It Go, by Tim McGraw."

Who is your dream duet partner?
TOLLIVER: "Shakira."
WARRIX: "Paul Rodgers or Tina Turner." 

What moment in your life would you relive if you could?
TOLLIVER: "The birth of my daughter. It made me feel a different level of love and now I see how much my parents love me."
WARRIX: "Any moment that contains my family, guitars and motorcycles."

If you wrote an autobiography, what would the title be?
TOLLIVER: "Living the Dream."
WARRIX: "How to Survive the Music Business with Balance."

What song do you wish you had written?
TOLLIVER: "'The Dance' by Garth Brooks."
WARRIX: "'Pink Houses' by John Mellencamp."

On the Web: www.halfwaytohazard.com

   

Images for above article.

 
     
Halfway to Hazard; Mercury/StyleSonic; Photo: John Victor Rothstein
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Issue Date: 11/27/2007  
bulletRCA Studio B: "The Home of 1,000 Hits"
bulletDale Watson Conjures Cash on from the Cradle to the Grave
RCA Studio B: "The Home of 1,000 Hits"
By TED DROZDOWSKI

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Country Music has its hallowed places, and among one of the most revered is Nashville's RCA Studio B.

The outside of this rectangular brick building at 1611 Roy Acuff Place is nondescript, save for the chink a nervous Dolly Parton put in the wall with her car as she arrived for one of her early recording sessions. Even so, it didn't take long, after opening its doors, for this studio to become known as "The Home of 1,000 Hits."

Studio B's first sessions transpired in November 1957, a milestone celebrated this year by the Country Music Hall of Fame and Museum through tour packages, live broadcasts from the studio, recording workshops and panel discussions, all of which have a rich history to examine. Researchers are still trying to verify the very first artist who recorded there, but some of the earliest include The Stanley Brothers and Don Gibson, whose "Oh, Lonesome Me" was the first big crossover hit to emerge from the facility.

Eddy Arnold's majestic "What's He Doing in My World?," Bobby Bare's "Detroit City," The Everly Brothers' "Cathy's Clown," Waylon Jennings' "Only Daddy That'll Walk the Line," Roy Orbison's "Only the Lonely," Dolly Parton's "Coat of Many Colors," Elvis Presley's "Are You Lonesome Tonight," "Good Luck Charm," "It's Now or Never" and "Little Sister," and smashes by Skeeter Davis, Donna Fargo, Don Gibson, Hank Locklin, Jim Reeves, Porter Wagoner and many more are all part of Studio B's legacy.

Nashville businessman Dan Maddox built and leased the facility to RCA Records to accommodate the label's local recording interest and in particular its hot young Country producer, Chet Atkins. But it was seasoned by the work of Nashville's top session musicians.

Although many of the players had rural roots, they were a sophisticated lot with a strong grasp of music history. Some were classically trained. Some played in jazz bands and were deft improvisers when not obliged to follow charts. They were also dedicated craftspeople who wanted to get the best performances at every turn.

"They were really committed to studying the room right from the start," said John Rumble, Senior Historian, Country Music Hall of Fame and Museum, "so they'd know how to adjust their own sound to get excellent results for the artists they were supporting."

The musicians often held Sunday afternoon picking parties around a galvanized tub of cold beer. Chief Engineer Bill Porter's tapes of these jams revealed that the room had a problem with "standing waves" - points where an amplified sound would bounce off a wall and cancel out, or where volume would swell suddenly. To remedy the problem, Porter cut pieces of acoustical ceiling tile into small pyramids and hung them at different levels to break up the waves. "The session musicians called them 'Porter's Pyramids,'" Rumble recalled.

Atkins' A-Team included guitarists Harold Bradley, Ray Edenton, Hank Garland and Grady Martin, bassist Bob Moore, pianists Floyd Cramer and Hargus "Pig" Robbins, drummer Buddy Harmon, saxophonist Boots Randolph, harmonica ace Charlie McCoy and others whose names recur on credits for the 35,000 songs cut at Studio B during its 20 years of operation.

The same players would also record at the Bradley Film and Recording Studios, which included a surplus Army "Quonset Hut," located on 16th Avenue South, a stone's throw from RCA Studio B. In fact, Studio B was built to compete with the Bradley studios, which were owned by Bradley and his brother, producer Owen Bradley. They ran their operation from 1955 until 1962, when Columbia Records purchased the Hut and operated it until 1982. Throughout the decades it was the home of hits recorded by Johnny Cash, Patsy Cline, Bob Dylan, Merle Haggard, Burl Ives, George Jones, Brenda Lee, Loretta Lynn and Tammy Wynette.

"I don't think Studio B compared favorably to the Quonset Hut for sound," said Harold Bradley, who still does sessions and is President of the Nashville chapter of the American Federation of Musicians (AFM 257). "The Hut was very large and my amp was at the very back of it. So I was 35 or 40 feet away from Patsy Cline when we were recording 'Crazy' there, but you could hear everything well, which was important since that was before they started using headphones in studios.

"But somehow," he continued, "whether we recorded at the Quonset Hut or Studio B, the songs turned out great and I always got the guitar sound I wanted on tape."

Rumble agreed that Studio B was not a remarkably designed room. "It's concrete block construction. There's nothing fancy about it. Between the engineers and the players, there was a genuine esprit de corps. They were aware that they were doing something special in Nashville and building its reputation as Music City U.S.A."

The product of these historic interactions between the players, engineers, producers and vocalists, defined what would become known as the "Nashville Sound."

Up to that point, Country spun on an axis of fiddle- and guitar-driven honky tonk, or the jazz-inspired beat of Western swing, or the high and lonesome strains of mountain folk or bluegrass. In the mid '50s, sales declined as rock 'n' roll lured young listeners. In response, Country record label executives signed Carl Perkins, Elvis Presley and other rockabilly artists to reach this burgeoning market, while also helping hard-edged Country acts update their sounds and adapt to changing tastes.

Additionally, to appeal to the pop audience - and, as Atkins later joked, to keep their jobs - he and Bradley replaced Country's raw fiddles, weeping pedal steel guitars and down-home singing with lush string sections, cocktail piano and crooners nestled on cushions of three- and four-part harmony from vocal backing groups.

In 1957 Atkins applied this formula at Studio B to produce Don Gibson's catchy "Oh, Lonesome Me." Two crossover classics, Jim Reeves' "He'll Have to Go" and The Browns' "The Three Bells," further proved the Nashville Sound's viability in the marketplace.

Aside from occasional projects such as Gillian Welch's Time (the Revelator) in 2001, Studio B has been closed as an active recording center since 1977. It is, however, far from mothballed. In 2002, The Mike Curb Family Foundation purchased the studio from the Country Music Hall of Fame and Museum, to which  Maddox had donated the facility in the early 1990s. It is operated now by the Museum and Nashville's Belmont University as a tourist attraction and learning laboratory. Students in Belmont's Mike Curb College of Entertainment and Music Business get hands-on experience on its vintage gear, which is augmented now by a computer-based Digidesign Pro Tools system used exclusively for mixing two-track masters.

"Our educational mission is not just to preserve what's here at the studio but to preserve the history of recording," explained longtime RCA Studio B Manager Michael Janas. "We literally make students relive the entire history of recording at Studio B. They start with 16-track tape. When they're ready to mix to a master, they do it to quarter-inch analog two-track tape and then to the two-channel Pro Tools system so they can see the similarities."

Except for the computer, all of Studio B's gear is either original or was manufactured during its halcyon years. That includes a 1972 API recording console that is historic in its own right. It came from a mobile recording unit used for The Band's The Last Waltz, Peter Frampton's Frampton Comes Alive! and U2's Rattle & Hum, as well as concert tapings by Fleetwood Mac and Neil Young with Crazy Horse.

"The music that came out of RCA Studio B in the late '50s and early '60s not only changed Country Music," reflected Janas, "it also influenced what The Beatles and countless other artists wrote and recorded. It affected how we make and listen to music in Western culture."

On the Web: www.countrymusichalloffame.com/site/studiob.aspx
 

   

Images for above article.

 

 

 

 
Eddy Arnold records a vocal track. photo: Country Music Hall of Fame and Museum
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Historic RCA Studio B exterior building. photo: Country Music Hall of Fame and Museum
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Jim Reeves records with his backup band. photo: Country Music Hall of Fame and Museum
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Producer Chet Atkins works the consoles as Waylon Jennings observes after recording a track. photo: Country Music Hall of Fame and Museum
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Dale Watson Conjures Cash on from the Cradle to the Grave
By BOB DOERSCHUK

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

The story behind Dale Watson's From the Cradle to the Grave on Hyena Records begins with an improbable transaction during the last months of Johnny Cash's life.

Two Johnnys were actually involved, both of them Tennessee legends in rather different ways. Cash, the seller, needs no introduction - and for a generation for whom being shot, crushed by a falling wall or facing an enraged bull while blindfolded might be considered entertainment, neither does the buyer, Johnny Knoxville.

Notorious as one of the visionaries behind the "Jackass" television shows and films, Knoxville actually knows as much about Country Music as he does about the hilarity of self-abuse. This helped usher him into music industry inner circles, where he eventually became friendly with the respected outsider artist Dale Watson, among others.

One of those others turned out to be Tommy Cash, who brokered the sale of a cabin to the young daredevil on behalf of his brother, the Man in Black.

"I never got to personally meet Johnny," Knoxville said. "But he knew his cabin was going to a Tennessee boy who did some kind of stupid crap in Hollywood."

Sometime after that, Knoxville called his pal Watson and invited him up to hang out for a while. It seemed like a good idea, especially if he could make use of the time to write and record some new material, so Watson agreed to spend a few days at the cabin while in town to perform at the Grand Ole Opry.

"So I text-messaged Johnny and said, 'Hey, what kind of format do you have up there?'" Watson recalled. "Johnny was like, 'What?' I said, 'Is it digital? Is it analog?' He said, 'Man, what are you talking about?'' I said, 'The recording studio.' And he said, 'There's no studio here. It's just a cabin.'"

Of course, opportunity is often the flip side of any particular problem, and so Watson called another friend, Charlie Boswell, who heads the Digital Media and Entertainment division at Advanced Micro Devices (AMD). For two years, they'd been talking about working together to record a Watson live performance; they'd just never considered doing it in a log cabin, until Watson invited Boswell to haul some gear up to that hilltop in Tennessee for a few days of tracking.

As Boswell and Kelly Stuart, AMD Operations Manager for Digital Media and Entertainment, hit the road from Austin, they called the celebrated recording engineer Chuck Ainlay in Nashville, who recommended various microphones for the session. Watson picked them up in town and then headed to the cabin for some intensive writing.

Over a three-day stretch he came up with 10 songs, all of them conceived solo except for "You Always Get What You Always Get," for which Gail Davies, Chuck Meade of BR549 and Chris Scruggs dropped by to co-write.

After wrapping each song, Watson taught it to his Lonestar Band, who were also enjoying the scenery at Knoxville's retreat.

By the time Boswell and Stuart pulled up the gravel road, Watson was ready to roll. "It was eight or nine in the morning," Boswell said, "and Dale met us at the door, carrying a shotgun and holding a Mason jar full of moonshine. But then he looked at his watch, and I could tell by the tone of his voice that this wasn't going to be a frat-house weekend. We were actually going to record an album."

The gear was unpacked quickly: some RME OctaMic preamps, a Mark of the Unicorn 896HD FireWire audio interface and AMD's Athlon Turion 64 mobile processor-based HP laptop computer. Within minutes the AMD guys had carried this compact cache inside and had their first look at what they had to work with.

"It really was a log cabin," said Stuart. "The beams and walls were very thick. The ceiling was low - maybe eight feet. And everything was tight: You didn't hear planes flying overhead or anything else from outside. There was a big fireplace . It was just like somebody's living room."

There was only one problem: With the smooth floor and tall windows, the sound might bounce a little too much. This was especially true of the drums, so the musicians and engineers went to work with what they had.

"Knoxville has this really nice white furniture in there," Watson said. "So we took the couch and tipped it on its side, to keep the drums out of my vocal mic. In fact, we covered [drummer John] McTigue with pillows and everything, bless his heart."

The microphone setup was similarly impromptu: a Shure SM57 poked into the pillows piled around steel guitarist Don Don Pawlak's amp in one corner, an AKG C451EB for fiddler Don Raby in another corner, maybe three mics on the drums. Watson sang into an RCA 44 Blackbird ribbon microphone. A Holophone Microphone System, containing seven separate heads, stood in the center of the room to capture the ambient sound in a 7.1 surround mix.

All of this was set up within two hours of Boswell's and Stuart's arrival on Friday, after which an all-night session began. Everything was recorded live, including the vocals. There were no monitors or headphones. To minimize bleeding, the musicians played quietly, with McTigue often using brushes rather than sticks on his drums. They cut complete takes only; if something didn't feel right, they'd start again from the top and play it through to the end until Watson announced, "That's a keeper."

Not surprisingly, Cash's spirit haunts much of the music they laid down that weekend. This was, at first, exactly what Watson hoped would not happen. As much as he reveres Cash and his work, he has struggled, especially in the early stages of his career, to acknowledge that influence while also defining his own distinctive sound.

"The first song I wrote in that cabin was 'Justice for All,'" he said, referring to the track that opens From the Cradle to the Grave. "I kept thinking, 'This is boom-chicka-boom; I want to stay away from this.' But for some reason I felt compelled to keep it like that. I may be stepping way over my boundary here, but I think Johnny would have agreed with this song."

That rhythm, as well as the harmonized horn parts that were overdubbed later at Ray Benson's Bismeaux Studio in Austin, do in fact echo "Ring of Fire." "That was unavoidable," he insisted. "There's no way I could have written 10 songs in three days without some sort of creativity in the air, but it was in my head that Johnny owned it. That definitely affected me, just being there. I even got a Roy Orbison feel with 'It's Not Over Now,' maybe because Johnny loved Roy so much."

But as the musicians wrapped up their work on Sunday night, and after everyone had loaded up and driven back down that hill toward wherever they were bound, Knoxville sensed that Watson had left some of his spirit behind too.

"After Dale and his band had cleared out, my friend Gary Leffew, who was the world champ bullrider in 1970, stayed in the cabin with his wife," he said. "I was telling Gary how to set up the place, how to turn the water on, where the gun was . And I told him to enjoy some moonshine as well. Gary said, 'What moonshine? There ain't a drop here.' I assured him there was because I had at least 10 gallons and there ain't no way that Dale and his band could've drunk that much.

"'Oh, there's a way, Knoxville. [They] done drunk it all,' Mr. Leffew said. And that's OK because we got a great album out of it, that's for sure."

On the Web: www.dalewatson.com
 

   

Images for above article.

 

 

 

 
Dale Watson photo: Bobby Bastarache
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Dale Watson with drummer John McTigue and road manager Robert Hawkins, mid session at Johnny Knoxville's cabin. photo: courtesy of Charlie Boswell
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Charlie Boswell, Director, Digital Media and Entertainment, AMD; Dale Watson; and Kelly Stuart, Operations Manager, Digital Media and Entertainment, AMD. photo: courtesy Charlie Boswell
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Dale Watson photo: Rob Buck
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Issue Date: 11/20/2007  
bulletPorter Wagoner 1927-2007
bulletPorter Wagoner: Wagonmaster
Porter Wagoner 1927-2007
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

When Porter Wagoner, known as "The Thin Man from West Plains" because of his lanky frame, succumbed to lung cancer, at 8:25 PM/CST on Oct. 28 in Nashville, a piece of Country Music history slipped into its rhinestone-studded jacket, stowed its guitar and headed toward the stage door.

Wagoner, who had survived an abdominal aneurysm in 2006, made his exit quickly, being hospitalized on Oct. 15 and released to hospice care on Oct. 26. But before then, he had flourished for half a century as a member of the Grand Ole Opry, pioneered the fusion of Country Music and television as host for 21 years of "The Porter Wagoner Show," won three CMA Awards and four Grammy Awards, helped Dolly Parton and Mel Tillis launch their careers, and then joined them in 2002 as a member of the Country Music Hall of Fame.

In addition to these accomplishments was the impact Wagoner made on countless fans who embraced him as one of their favorite entertainers. His homespun humor and accessible vocal style captivated radio listeners for generations. The gaudy outfits, upswept hair and room-lighting smile were indispensible elements in his live shows - but for those who could only listen from hundreds or thousands of miles away, the sound and feeling of the man, as broadcast from Nashville, were enough to make him seem like a friend.

"This is a terrible loss for the music industry on many different levels," said CMA CEO Tammy Genovese. "Musically, the 'Wagonmaster' contributed a great deal to the format with his voice, his humor and his undeniable charm. He was a consummate showman, wrapped like a bright and precious gift to the nation in his trademark rhinestone-studded suits. He is an unforgettable figure in Country Music history. He will be missed. Our prayers go out to his children Debra, Denise and Richard and their families."

Porter Wayne Wagoner was born on Aug. 12, 1927, in the Ozark Mountain region of southwestern Missouri. Raised in West Plains, educated in a one-room schoolhouse, he worked as a young man by day in a butcher shop and as a Country performer at night. His style grew from its bluegrass roots into a synthesis of Roy Acuff, Hank Williams and other contemporaries, blended with Wagoner's own evolving sound. In 1951, he became a regular on the KWTO program, out of Springfield, Mo., that would become "The Ozark Jubilee." A year later he made his recording debut for RCA Victor, and the following year Carl Smith turned Wagoner's "Trademark" into a hit.

"A Satisfied Mind" hit No. 1 in 1955 and conveyed Wagoner to Nashville and membership in the Grand Ole Opry two years later. In 1960, he launched "The Porter Wagoner Show." Its mix of traditional Country Music, comedy sketches, and guest shots by established and upcoming stars helped it earn syndication to more than 100 television stations and expanded its audience to more than 3 million by the early '70s. It also introduced the world to Parton, Wagoner's protégée and duo partner. Through their seven-year association, they won three CMA Vocal Duo of the Year Awards, earned a Grammy and cut 14 songs that wound up in the Top 10, including "Just Someone I Used to Know," "Making Plans" and the chart-topping "Please Don't Stop Loving Me."

In his solo work, Wagoner reflected extraordinary range. His songs, whether self-penned or selected to reflect the complexity of his artistry, combined elements that would seem incompatible in the hands of a lesser artist. Yet Wagoner displayed consistent insight as an interpreter, whether delivering gospel songs, playfully humorous material, stoic recitations or descents toward the depths of a tortured soul. From "Company's Comin'" (1954) and "Eat, Drink and Be Merry (Tomorrow You'll Cry)" (1955) through the stark, fiddle-haunted introduction to "Albert Erving" from his last album, Wagonmaster (2007) produced by Marty Stuart and released on ANTI-Records, from his gigs with the Blue Ridge Boys in his early 20s to his appearance in July as the opening act for The White Stripes at a sold-out show at New York's Madison Square Garden, his legacy is unique and secure.

"I may not be the world's greatest singer," Wagoner said in his 2007 interview with CMA Close Up. "But I know how to sing Country Music. I know what separates Country from other kinds of music. I've learned that it's important, if you're a singer or an entertainer, to know what you're doing. You need to study this business as if you were going to be a doctor, a lawyer or a man that makes big decisions. You never do find out all there is to know in your lifetime. But you learn from that process every day - and you don't forget what you learn."

Amen, Porter.

   

Images for above article.

 
     
Porter Wagoner backstage at the Grand Ole Opry; Photo: Chris Hollo/Hollophotographics, Inc.
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Porter Wagoner: Wagonmaster
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

He'd grown up watching "The Porter Wagoner Show" in Mississippi; he even appeared on it, as a prodigy picker at age 13. The resurrection of these memories, one fateful day not long ago, was the first step toward the work that would lead this year to Wagoner's latest album, Wagonmaster, on Anti Records.

"That all came back on the day the war started in Iraq," Stuart said, relaxing at the Tennessee State Museum amidst his collection of Country Music memorabilia several weeks before it would be exhibited as "Sparkle & Twang: Marty Stuart's American Musical Odyssey." "There was CNN coverage all day long. I watched as much as I could stand and then went to the back of the bus to take a nap, just to get away from it. Then, when I came back to the front, 'The Porter Wagoner Show' was on the RFD Channel. I watched the entire show, and when it was done I felt like I did when I was a kid: as bad as things can be, it's going to be OK."

Wagonmaster grew around the sound that Wagoner cultivated on his show. Between the blazing hoedown fiddle that kicks off the "Wagonmaster" theme to the last moments, a stark solo rendition of "I Heard That Lonesome Whistle Blow" during the final moments of "Porter and Marty," the album's last track, these performances transplant Wagoner's roots into a conceptually adventurous setting. On 17 songs, nine of them written or co-authored by Wagoner, every facet of his persona comes into view, from the playful side he displays at the Opry ("Be a Little Quieter") to the dark corners of the soul he'd explored in his classic 1972 recording "Rubber Room" ("Committed to Parkview," written by Johnny Cash and given to Stuart in 1983 to pass along to Wagoner. That this request slipped Stuart's mind until now may prove all for the best, given the stark and scary eloquence that Wagoner brings to the tune today).

Wagoner's voice is worn yet irresistibly expressive, whether meditating on the fleetness of life's passage ("A Place to Hang My Hat"), recounting the stories of strangers on a bus ride toward their diverse destinies on a Wagoner-Parton co-write ("My Many Hurried Southern Trips"), remembering a hermit who harbored a heartbreaking secret ("Albert Erving"), or even just talking on tape with Stuart about Hank Williams.

On "Brother Harold Dee," though, Wagoner achieves a transcendent eloquence through the now neglected device of recitation. "Red Foley taught me how to do that. I got to know him real well in Springfield, Mo., where he was doing 'The Ozark Mountain Jubilee,'" he recalled, noting the radio program on which he was featured until joining the Opry in 1957.

"He knew how to talk to an audience. He told me one time, 'You can't talk over an audience, because there are hundreds of them sitting there. So if you lose their attention, talk softer. They'll listen harder.' And it works."

The impact of Wagonmaster owes much to Wagoner's gift for bringing characters to life, as a writer, a vocalist or both. "I try to put myself into every song I project, in a way that makes it sound as though I've been there. Now, most of them, I have not been there. I never tried any of the drugs because of my fear for it. But I've always had a softness for people who get hooked on whiskey or some type of drugs. In order to sing this way, you've got to believe that you somehow have it in yourself. 'The Late Love of Mine' was unique in this way because I wanted to project that the guy was telling this story as though he was a drinker."

And here Wagoner began to sing the slow, sad waltz of this track from Wagonmaster: "How can I expect a good woman to love a slave of the wine? I knew that someday I'd lose her, the late love of mine."

With that, we're taken somewhere far from here, to wherever that place is that feeds the genius of Country Music when it's allowed to flow freely and poetically. It was this place that Stuart visited, not long after that that incident on his tour bus, when he dropped by Wagoner's home one night and left knowing why he would produce, play on and help his friend bring Wagonmaster into the world.

"Porter was ready, man," Stuart remembered. "He had song after song after song. The more I sat there, listening, the more I thought, 'This is why I fell in love with Country Music, right here.'"

   

Images for above article.

 

 
   
Porter Wagoner; "Wagonmaster;" Anti Records
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Porter Wagoner; Photo courtesy of Marty Stuart
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Country Music Hall of Fame Welcomes Ralph Emery, Vince Gill and Mel Tillis
By BOB DOERSCHUK

 

As night falls in Nashville, the skyline as seen from the lobby of the Country Music Hall of Fame and Museum transforms slowly, its silhouette flecked by lights in the deepening dark.

So it was on Oct. 8, as the Museum welcomed guests to the annual Medallion Ceremony to witness the inductions of Ralph Emery, Vince Gill and Mel Tillis into the Hall of Fame.

Founded by CMA in 1961, the Hall honors the individuals whose contributions to Country Music have been judged most significant by their peers. All inductees are chosen by CMA's Hall of Fame Panel of Electors, consisting of more than 300 anonymous voters appointed by the CMA Board of Directors. Hall of Fame members were easy to spot among those who gathered in the vast, glass-roofed Curb Conservatory. Whether in formal or Western attire, each wore a black ribbon from which a handsome brass medallion hung.

There were 98 in this august group as the day dawned; by evening's end, there would be 101.

A festive feeling took hold as the crowd filed into the Museum's Ford Theater. Harold Bradley, Phil Everly of the Everly Brothers, Jim Foglesong, Sonny James, the Jordanaires' Louis Nunley, Gordon Stoker, Ray Walker and Curtis Young, Charlie Louvin and former CMA Executive Director Jo Walker-Meador were among the previous inductees whose presence makes this annual event, in the words of Hall of Fame member E. W. "Bud" Wendell, Chairman of the Museum's Board of Officers and Trustees, a "reunion."

It started with Boots Randolph's "Yakety Sax" blasting into the room. As the tune faded, Museum Director Kyle Young stated, simply, "We miss Boots," and the crowd cheered for the late A-Team mainstay.

Wendell commenced the cavalcade of music and memories by comparing Country Music to the legacy of Michelangelo - an audacious proposition that rang truer as the proceedings continued. Following this, Randy Scruggs performed his Grammy-winning rendition of "Amazing Grace," which prompted Wendell to observe, "That's what happens when Maybelle Carter was your babysitter."

CMA CEO Tammy Genovese then shared her thoughts. "Induction into the Country Music Hall of Fame is the greatest honor bestowed on a Country Music artist," she observed. "This is an appropriate and meaningful place for these gentlemen to receive the honor and accolades they deserve."

Young responded by thanking CMA "for this honor and for the underwriting of staff support that made tonight a reality." Then he noted that "the great Porter Wagoner had planned to be with us tonight. . Please keep the Wagonmaster and his family close to your heart and in your prayers. Let's hear it for Porter," he concluded, leading the room in an ovation for the beloved entertainer who, ironically, was in his last moments of life in hospice care, not far away.

Emery, Gill and Tillis, Young continued, had all "used the specifics of their life experiences to create a body of work that reflects an understanding of the cares and woes of their audiences as well as sympathy and solidarity with the need of all people to feel free from care, from want and from need, at least on a Saturday night. Who can count the numbers of people who've been comforted and uplifted, amused and relieved, or inspired and ready for another hard day, by the music and stories these men made available for so long? We recognize ourselves in this music and in these stories. That's why we love them and why millions like us keep coming back for more."

This message underscored every word spoken and note played over the next several hours. Artists performed songs honoring the careers of the new Hall of Fame members. Backing the performers were music director John Hobbs on piano and the Medallion All-Star Band, featuring drummer Eddie Bayers, steel guitarist Paul Franklin, harmony singers Tania Hancheroff and Wes Hightower, guitarists Brent Mason and Russ Pahl and bassist Michael Rhodes.  The Great American Country television network taped the event, portions of which can be seen on upcoming episodes of GAC's "Master Series."  The event was also taped for future broadcast by WSM-AM 650.

Tribute was paid first to Emery, through "You Gave Me a Mountain," delivered as a chilling solo piece by Raul Malo. The Gaither Vocal Band then romped through "Yes, I Know," and Con Hunley extolled Emery's interview technique by recalling one night on his show at WSM.

"I'd invited this young lady over to dinner in my trailer," Hunley said. "There was a place in the bathroom where the floor was rotted out, but the linoleum still covered it. All of a sudden, I heard this big scream . Anyway, I told Ralph about this when we were in the dressing room. We'd already discussed what we were going to talk about on the show - songs, my current single and all of that.

"Well, first pop out of the box," Hunley said, "I sat down, and Ralph says, 'What about that girl in the trailer?'" And as the laughter subsided, Hunley and the Medallion All-Star Band gave a steamy reading of "Since I Fell for You" that brought the room - not for the first or last time - to its feet.

Ray Stevens followed, with a story about an Emery radio contest that involved a chicken and a plane flight to Louisiana and an irresistible rendering of "Everything Is Beautiful." Wendell then called Emery to the podium for his induction. Speaking with his customary dignity, Emery thanked his wife, Joy, for their 40 years of marriage and then quoted from a spiritual poem of gratitude, written by the late Hall of Fame member Tennessee Ernie Ford, whose final lines - "Almost despite myself, my unspoken prayers were answered / I am, among all men, most richly blessed" - touched something close to the heart of music as well as faith.

To open the next part of the ceremony, Rodney Crowell and Emmylou Harris sang "Some Things Never Get Old," from Gill's monumental These Days. Michael McDonald, joined by Gill's band members Tom Britt, Dawn Sears, Billy Thomas, Pete Wasner and Jeff White, sang "Go Rest High on That Mountain," his smoky vocal riding the slow gospel roll like a ship sailing home after too long at sea. Guy Clark walked onstage after that to perform "The Randall Knife" with a rugged eloquence that inspired Gill to leap from his seat and embrace his longtime mentor. And Al Anderson rocked Gill's "Next Big Thing" with an energy that dared listeners not to party.

Introduced by Hall of Famer Whisperin' Bill Anderson, mixing gentle humor with a profession of love for his wife Amy Grant, Gill confessed to still being surprised at his admission to the Hall. "Maybe it affirms the way I've tried to live my life, and that was trying to put everybody else first," he mused. "I felt that's the kindest way to live. And I enjoyed every role I was able to play in music. It never mattered if I was on the side; I just wanted to be in the band. I was just dumb enough to sing, and look at what happened."

He did allow himself a flicker of satisfaction. "As I look around this room, I see so many fellow Hall of Famers," he began. And then, after stopping for a moment, Gill beamed and said, "That felt . great!"

Tillis' segment was preceded by Bobby Bare's familiar yet powerful treatment of "Detroit City." ("Here's a song I never get tired of," the denim-clad singer growled before Brent Mason hit the famous E-string opening lick.) Kenny Rogers then reminded listeners of the meaning behind another Tillis composition, "Ruby,Don't Take Your Love to Town," a meditation on the impact of the Vietnam War that still bears relevance. "Mel, I'll just tell you this," Rogers summed up. "A lot of people in this world can write great songs. Very few people can write important songs."

After performing, Rogers yielded the spotlight to Pam Tillis, who  allowed that "so much of what I've done in my career has been an effort to make my Dad proud." She performed "Coca Cola Cowboy," Dierks Bentley followed by tearing through "I Ain't Never," and then it was time for Hall of Fame member Little Jimmy Dickens to come forward.

"You folks in our audience here tonight, if you've never seen Mel Tillis in concert, you've missed a lot," the Opry legend said. "When he steps on the stage, he upgrades Country Music and the industry that we all love and stand for. Men like this are hard to come by, and I'm proud that Mel Tillis is my friend."

With that, Dickens presented Tillis with his medallion. The newest member of the Hall spoke, with his impeccable comic timing, about his failure as a stuttering salesman for "Harrie's Cookies" ("I wouldn't eat a hairy cookie either," he said), his appreciation for girlfriend Kathy DeMonaco and the other special people in his life, and finally for "this little angel on my shoulder" who had stayed with him through good and tougher times.

The inductions concluded with all Hall of Fame members in attendance joining in a performance of "Will the Circle Be Unbroken" and a promise to meet again next year, in harmony with the music that brings this circle together.

   

Images for above article.

 

 

 

 
2007 Country Music Hall of Fame inductees Mel Tillis, Ralph Emery and Vince Gill at the Medallion Ceremony on Oct. 8, 2007, at the Country Music Hall of Fame and Museum in Nashville.
Photo: John Russell / CMA

 

Emmylou Harris and Rodney Crowell perform at the Medallion Ceremony on Oct. 8, 2007, at the Country Music Hall of Fame and Museum in Nashville.
Photo: John Russell / CMA

 

Kenny Rogers performs at the Medallion Ceremony on Oct. 8, 2007, at the Country Music Hall of Fame and Museum in Nashville.
Photo: John Russell / CMA

 

Country Music Hall of Fame members sing "Will the Circle Be Unbroken" at the Medallion Ceremony on Oct. 8, 2007, at the Country Music Hall of Fame and Museum in Nashville.
Photo: John Russell / CMA

 

 

 

 

2007 Final Nominees

"THE 41ST ANNUAL CMA AWARDS," AIRING LIVE, NOVEMBER 7 ON ABC

Brad Paisley and George Strait Lead Nominees with Five Nominations Each

Kenny Chesney, Alison Krauss and Martina McBride Receive Four Nominations

John Rich, Carrie Underwood and Keith Urban Score Three Nominations Each

The list of nominees, many of whom will attend the ceremonies either as presenters or as performers, follows:

bulletEntertainer of the Year
bulletKenny Chesney
bulletBrad Paisley
bulletRascal Flatts
bulletGeorge Strait
bulletKeith Urban
bullet 
bulletFemale Vocalist of the Year
bulletAlison Krauss
bulletMiranda Lambert
bulletMartina McBride
bulletReba McEntire
bulletCarrie Underwood
bullet 
bulletMale Vocalist of the Year
bulletKenny Chesney
bulletBrad Paisley
bulletGeorge Strait
bulletJosh Turner
bulletKeith Urban
bullet 
bulletHorizon Award
bulletJason Aldean
bulletRodney Atkins
bulletLittle Big Town
bulletKellie Pickler
bulletTaylor Swift
bullet 
bulletVocal Group of the Year
bulletAlison Krauss + Union Station, featuring Jerry Douglas
bulletDixie Chicks
bulletEmerson Drive
bulletLittle Big Town
bulletRascal Flatts
bullet 
bulletVocal Duo of the Year
bulletBig & Rich
bulletBrooks & Dunn
bulletMontgomery Gentry
bulletSugarland and The Wreckers
bullet 
bulletSingle of the Year
(Award goes to artist and producer)
bullet"Anyway"
Martina McBride
Produced by Martina McBride
RCA Records“Believe”
bullet 
bullet"Before He Cheats"
Carrie Underwood
Produced by Mark Bright
19 Recordings Limited/Arista Records
bullet 
bullet"Lost in This Moment"
Big & Rich
Produced by Big Kenny and John Rich
Warner Bros. Nashville
bullet 
bullet"Ticks"
Brad Paisley
Produced by Frank Rogers and Chris DuBois
Arista Nashville
bullet 
bullet“Wrapped”
George Strait
Produced by Tony Brown and George Strait
MCA Nashville
bullet 
bulletMusician of the Year
bulletEddie Bayers, Jr.– Drums
bulletJerry Douglas – Dobro
bulletDann Huff – Guitar
bulletMac McAnally– Guitar
bulletRandy Scruggs – Guitar
bulletAlbum of the Year
(Award goes to artist and producer)
bullet5th Gear
Brad Paisley
Produced by Frank Rogers and Chris DuBois
Arista Nashville
bullet 
bulletIt Just Comes Natural
George Strait
Produced by Tony Brown and George Strait
MCA Nashville
bullet 
bulletLong Trip Alone
Dierks Bentley
Produced by Brett Beavers
Capitol Records Nashville
bullet 
bulletLove, Pain & the Whole Crazy Thing
Keith Urban
Produced by Dann Huff and Keith Urban
Capitol Records Nashville
bullet 
bulletThese Days
Vince Gill
Produced by Vince Gill, John Hobbs and Justin Niebank
MCA Nashville
bullet 
bulletMusic Video of the Year
bullet"Anyway"
Martina McBride
Directed by Robert Deaton and George J. Flanigen IV
bullet 
bullet"Before He Cheats"
Carrie Underwood
Directed by Roman White
bullet 
bullet"Moments"
Emerson Drive
Directed by Steven Goldmann
bullet 
bullet"Online"
Brad Paisley
Directed by Jason Alexander
bullet 
bullet“You Save Me”
Kenny Chesney
Directed by Shaun Silva
bullet 
bulletMusical Event of the Year
bullet“Because of You”
(Reba McEntire with Kelly Clarkson)
bullet 
bullet“Find Out Who Your Friends Are”
(Tracy Lawrence, featuring Tim McGraw and Kenny Chesney)
bullet 
bullet“Hey Good Lookin’” (Live)
(Jimmy Buffett with George Strait and Alan Jackson)
bullet 
bullet“Missing You”
(Alison Krauss and John Waite)
bullet 
bullet“The Reason Why”
(Vince Gill with Guest Vocalist Alison Krauss)
bullet 
bulletSong of the Year
(Award goes to songwriter and primary publisher)
bullet“Anyway”
Martina McBride/Brad Warren/Brett Warren
Delemmava Music/Bucky and Clyde Music
bullet 
bullet“Before He Cheats”
Josh Kear/Chris Tompkins
That Little House Music/Mighty Under Dog Music/Sony/ATV Cross Keys
bullet 
bullet“Give It Away”
Bill Anderson/Buddy Cannon/Jamey Johnson
Sony/ATV Tree/Mr. Bubba Music/Slow Run Music/EMI Blackwood
bullet 
bullet“Lost in This Moment” (, publisher )
John Rich/Keith Anderson/Rodney Clawson
Rich Texan Music/Warner-Tamerlane/Writer’s Extreme/EMI April Music/Romeo Cowboy
bullet 
bullet“Stupid Boy”
Dave Berg/Deanna Bryant/Sarah Buxton
Song Planet/That Little House Music/Cal IV Songs/ BergBrain Music

 

Issue Date: 10/30/2007  
bulletCMA AWARDS AIRS WEDNESDAY, NOV. 7, 8-11PM/ET ON ABC-TV
bulletTHE YEAR'S TOP ARTISTS PERFORM ON THE CMA AWARDS
bulletBIG & RICH KICK-OFF CMA AWARDS DAY ON "GOOD MORNING AMERICA"
bulletABC.COM EXCLUSIVE COVERAGE LEADING UP TO CMA AWARDS
bullet"NASHVILLE CELEBRATES COUNTRY" EVENTS LEADING UP TO THE CMA AWARDS
CMA AWARDS AIRS WEDNESDAY, NOV. 7, 8-11PM/ET ON ABC-TV
By Wendy Pearl

 

The final list of nominees for "The 41st Annual CMA Awards" covers the broadest spectrum of the format from traditionalists, Country Music hit makers and crossover innovators, with several fresh faces added to the mix. 

"Country Music is thriving on the talent and creativity of an outstanding group of artists and they are well represented with our nominees," said CMA Chief Operating Officer Tammy Genovese. "These talented performers, musicians, songwriters, producers and directors demonstrate the artistic depth and creativity of our format. It is an exciting time for Country Music and the CMA Awards will definitely reflect that on Nov. 7."

"Since our inaugural broadcast of the Awards last year with the historic 40th anniversary, we've enjoyed a special and growing relationship with the Country Music Association as true partners to bring the very best of the country's music to ABC," said Vicki Dummer, Senior VP, Alternative Series, Specials and Late-Night, ABC Entertainment. "We're proud and honored to be the network that is home to the CMA Awards and we congratulate all of the outstanding nominees for their achievements."

"The 41st Annual CMA Awards" will broadcast live from the Sommet Center in Nashville on Wednesday, Nov. 7 (8-11PM/ET) on the ABC Television Network.

Brad Paisley and Country Music Hall of Fame member George Strait lead the list of nominees with five nominations each. Paisley was nominated for Entertainer, Male Vocalist, Album for 5th Gear (produced by Frank Rogers and Chris DuBois), Single for "Ticks" and Music Video of the Year for "Online," which was directed by actor-turned-video director Jason Alexander.

Strait received nominations for Entertainer, Male Vocalist, Album for It Just Comes Natural (co-produced by Tony Brown), Musical Event with Jimmy Buffett and Alan Jackson on the live version of "Hey Good Lookin'" and Single of the Year for "Wrapped." Strait could win two additional trophies as producer for Single and Album of the Year. Other nominees benefiting from Strait's windfall are songwriters Bill Anderson, Buddy Cannon and Jamey Johnson, who were nominated for Song of the Year for "Give It Away." Strait now has 70 career CMA Awards nominations, trailing only Jackson, who has 75 with this year's nomination for Musical Event of the Year.

Reigning CMA Entertainer of the Year Kenny Chesney received four nominations this year for Entertainer, Male Vocalist, Musical Event with Tracy Lawrence and Tim McGraw on Lawrence's "Find Out Who Your Friends Are" and Music Video of the Year for "You Save Me" directed by Shaun Silva.

Alison Krauss received four nominations including Female Vocalist, Vocal Group of the Year for Alison Krauss and Union Station featuring Jerry Douglas, and two for Musical Event of the Year with John Waite (his first CMA Awards nomination) on "Missing You" and with Vince Gill on "The Reason Why." Douglas was also nominated for Musician of the Year. Krauss last won the Female Vocalist of the Year category in 1995. She has been nominated in the category five times including each year from 2002-2005.

Martina McBride also had four nominations, including Female Vocalist, Single, Song and Music Video of the Year for "Anyway," which she co-wrote with Brad Warren and Brett Warren. The music video was directed by Robert Deaton and George J. Flanigen IV. McBride could pick up an additional trophy as producer for Single of the Year for the inspiring ballad.

John Rich scored three nominations, including Vocal Duo and Single of the Year for "Lost In This Moment" with partner Big Kenny Alphin as Big & Rich (which they also produced), and as a songwriter with Keith Anderson and Rodney Clawson for "Lost In This Moment."

After winning CMA Female Vocalist of the Year and the Horizon Award in 2006, Carrie Underwood is back in 2007 with three nominations for Female Vocalist, Single for "Before He Cheats" and Music Video of the Year for the same song directed by Roman White. Songwriters for "Before He Cheats," Josh Kear and Chris Tompkins, were nominated for Song of the Year.

Reigning CMA Male Vocalist of the Year Keith Urban had three nominations for Entertainer, Male Vocalist and Album of the Year for Love, Pain & the whole crazy thing, which he co-produced with Dann Huff, who is a Musician of the Year nominee. Songwriters Dave Berg, Deanna Bryant and Sarah Buxton received a nomination for Song of the Year for Urban's "Stupid Boy." Urban has won the Male Vocalist Award every year he has been nominated (2004-2006). He won Entertainer of the Year in 2005.

Rounding out the nominees for Entertainer of the Year is Rascal Flatts. The group was first nominated in the category in 2006. The category has only been won by two groups in CMA Awards history: Alabama (1982, 1983, 1984) and Dixie Chicks (2000). Rascal Flatts has swept the Vocal Group of the Year category the past four years and is nominated in that category again in 2007.

Completing the list of nominees in the Vocal Group of the Year category are Dixie Chicks, Emerson Drive and Little Big Town. Dixie Chicks have won the category four times (1998, 1999, 2000 and 2002) and were last nominated in 2003. This marks Emerson Drive's first CMA Awards nomination. They also received a nomination for Music Video of the Year for "Moments," directed by Steven Goldmann. Little Big Town was nominated for the first time in the Vocal Group category in 2006. They also received their second Horizon Award nomination this year.

Expectation surrounds the Female Vocalist of the Year category. Rounding out the list with McBride, Krauss and Underwood are Miranda Lambert and Reba McEntire. This marks Lambert's first nomination in this category. She received her first CMA Awards nomination in 2005 for the Horizon Award and in 2006 was nominated for Horizon and Music Video of the Year.

McBride and McEntire are tied with the most wins in the Female Vocalist category in history - surpassing Loretta Lynn's and Tammy Wynette's previous records. McBride won in 1999, 2002, 2003 and 2004. McEntire won in 1984, 1985, 1986 and 1987. McEntire was last nominated in the category in 2004. With her two nominations, McEntire solidifies her position as the female artist with the most nominations (45) in the 41-year history of the CMA Awards. She is also nominated in the Musical Event of the Year category with Kelly Clarkson for "Because of You," marking the "American Idol" winner's first CMA Awards nomination.

This is the first year that Josh Turner's name is on the list of nominees for Male Vocalist of the Year. Turner was nominated for the Horizon Award in 2004 and 2006.

An artist may be nominated only twice for the Horizon Award and this year several new hopefuls join two-time nominee Little Big Town on the list, including Jason Aldean, Rodney Atkins, Kellie Pickler and Taylor Swift.

Dierks Bentley won his first CMA Award in 2005 with the Horizon trophy and in 2007 he received his first nomination for Album of the Year for Long Trip Alone, produced by Brett Beavers. A CMA Awards voter favorite, Vince Gill, is also nominated for Album of the Year for These Days. Gill could pick up an additional trophy as producer with John Hobbs and Justin Niebank.

Sugarland makes its debut in the Vocal Duo of the Year category this year with fellow nominees Big & Rich, Brooks & Dunn, Montgomery Gentry and The Wreckers.

Artists performing on the CMA Awards include Jason Aldean, Rodney Atkins, Big & Rich, Brooks & Dunn, Kenny Chesney, Eagles, Alison Krauss, Miranda Lambert, Martina McBride, Reba McEntire in a duet with LeAnn Rimes, Brad Paisley, Kellie Pickler, George Strait, Sugarland, Taylor Swift, Josh Turner, Carrie Underwood and Keith Urban. Rascal Flatts will open the festivities and also perform with Jamie Foxx later in the broadcast.

Presenters on the CMA Awards include Luke Bryan, Jason Michael Carroll, Bucky Covington, Sheryl Crow, Jewel with Ty Murray, Kid Rock, Montgomery Gentry, Blake Shelton, Gretchen Wilson and Dwight Yoakam.

Additional artists performing and presenters at the CMA Awards will be announced at a later date.

For the first time in the history of the CMA Awards, multiple artists will share hosting duties during the three-hour gala including Sara Evans and LeAnn Rimes. Other segment hosts will be announced soon.

The 2006 CMA Awards, held in Nashville during November Sweeps (Nov. 6), ranked in the Top 5 with the Academy Awards, the Golden Globes, Grammy Awards and Emmy's during the 2006-2007 season for awards shows among total viewers. With "The 40th Annual CMA Awards," ABC won Monday evening in both total viewers (16.0 million) and adults 18-49 (5.4/13). According to Nielsen, research estimates that more than 30 million viewers watched all or part of the ceremony.

The CMA Awards nominees and winners are determined by the 6,000 industry professional members of CMA, founded in 1958 as the first trade organization formed to promote an individual genre of music. The first "CMA Awards Banquet and Show" was held in 1967. The following year, the CMA Awards were broadcast on NBC-TV for the first time, making it the longest running, annual music awards program on network television. The show aired on NBC-TV through 1971 and on CBS-TV from 1972 through 2005.

Winners of "The 41st Annual CMA Awards" will be determined in a third/final round of voting by eligible voting members of the Country Music Association. CMA Awards balloting is officiated by the international accounting firm of Deloitte & Touche LLP.

Tickets for the 2007 CMA Awards are on sale now and can be purchased by logging on to www.ticketmaster.com; calling (615) 255-9600; or in person at the Sommet Center box office, 501 Broadway (corner of Fifth Avenue and Broadway, in Nashville). Ticket prices begin at $164 (excluding applicable service/handling fees), with prices increasing depending on seating level.

"The 41st Annual CMA Awards" is a production of the Country Music Association. Walter C. Miller is the Executive Producer and Robert Deaton is the Producer. Paul Miller is the Director. David Wild is the writer. The special will be shot in high definition and broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

Premiere Radio Networks is the official radio packager of the CMA Awards, including a stereo-radio simulcast of the gala event. American Airlines is the official airline of the 2007 CMA Awards. Chevy: The Official Ride of Country Music. Mary Kay is the Official Beauty Sponsor. Additional promotional partners include AOL, LLC.; Borders Books & Music; Carl Black Chevrolet; Coca-Cola; Dr Pepper; Gibson Guitar; Greased Lightning Cleaning Products; Hard Rock Cafe Nashville; Mr. Coffee; and The Yankee Candle Company.

REACTIONS FROM SOME OF THE CMA AWARDS FINAL NOMINEES

"It cannot get any better than this. We have worked extremely hard this past year. Thank you CMA members for recognizing that hard work. It means more to us than you know." - BIG KENNY of BIG & RICH, Vocal Duo and Single of the Year

"Kenny and I were blown away when 'Lost In This Moment' reached No. 1 on the Country radio charts for multiple weeks, but now hearing we are nominated for Song and Single of the Year, in addition to Vocal Duo, we are truly 'Lost In This Moment.' Thank you." - JOHN RICH of BIG & RICH, Vocal Duo, Single and Song of the Year

"It's not just another year for us. Touring with Alan and Chesney has been some of the biggest business we've ever done, and 'Proud of the House We Built' is introducing maybe the best album we've ever made. It's great to still have a job and good to know people still notice." - KIX BROOKS of BROOKS & DUNN, Vocal Duo of the Year

"Kix and I are happy just to be there. Win or lose, we're glad to have jobs." - RONNIE DUNN of BROOKS & DUNN, Vocal Duo of the Year

"I was already having a great day when I got the phone call from my manager that 'Stupid Boy' was nominated. Dave [Berg], Deanna [Bryant, co-writers] and I were excited to have Keith record the song, and now this - it's over the top. I couldn't be happier." - SARAH BUXTON, Song of the Year

"It's kinda crazy, what's happening. But it's really about the fans. I think you make music that hits them where and how they live, you get out there and you give them a reason to come, to have fun, to let it all go when they're at your show . they're gonna respond. There's been plenty of times I can't believe how far I've taken it onstage - and when I look back, it's because of what they're giving us when we're up there." - KENNY CHESNEY, Entertainer, Male Vocalist, Musical Event and Music Video of the Year

"We got the wake-up call of the year this morning. We were on our bus, headed to our gig in Ohio, when we got a call telling us about our CMA nominations. What a great way to wake up." - BRAD MATES of EMERSON DRIVE, Vocal Group and Music Video of the Year

"This comes at the heels of the news about my induction into the Country Music Hall of Fame and I couldn't be prouder about this. It's been a pretty good while since I've been nominated for anything so this is extra special." - VINCE GILL, Album and Musical Event of the Year

"All I have to say is I'm in a category with REBA. I'm sure all the other nominees will agree that it is an honor to be nominated with a true music icon." - MIRANDA LAMBERT, Female Vocalist of the Year

"I am humbled by the overwhelming support of Country radio and so many of my friends and colleagues in the music industry, a business that I dearly love. . I assembled a very strong team around me and I feel very proud of our accomplishment." - TRACY LAWRENCE, Musical Event of the Year

"Wow! The CMAs are such a huge part of Country Music. It's such an honor to be nominated for these Awards and to be in categories with our friends and artists we've been big fans of for years." - KIMBERLY ROADS of LITTLE BIG TOWN, Horizon and Vocal Group of the Year

"You know, as much competition as there is in Nashville right now, not only in the Duo category but airplay and everything, it's a wonderful feeling to be nominated year after year." - TROY GENTRY of MONTGOMERY GENTRY, Vocal Duo of the Year

"My old man always told me one thing. He said, 'Boy, always remember, if people are talking about you, you're still alive.' So long as we're nominated, we know we're still in the game." - EDDIE MONTGOMERY of MONTGOMERY GENTRY, Vocal Duo of the Year

"I'm going to have such an awesome week. I'm going to be so obnoxiously excited. I apologize to everyone who were watching the announcements, when I started screaming and jumping up and down. But I was not expecting it. It's been a really, really good day." - TAYLOR SWIFT, Horizon

"Man, I'm just floored. I'm speechless. What a way to start the day. I'm in mighty fine company in the Male Vocalist category, and I'm so thankful to everyone who voted for me." - JOSH TURNER, Male Vocalist of the Year

"So here I am on yet another Awards announcement day, wondering if it's gonna be a good day or a bad day. I wake up on the bus and look at my phone, which hasn't rung yet and it's almost 10 o'clock. That's not good. So I check messages anyway and I hear 'you have no new messages.' I then check my e-mail on my new iPhone. I have two new messages: One is junk mail with the subject 'Eliminate E.D. Now.' The other is a spam which makes absolutely no sense: 'Quickness Goat Radishes Envelope.' Not a good sign.

"So I go online and look at the headline: 'Brad Paisley and George Strait lead CMA Nominations.' Good day. Definitely.

"I'm humbled by this fantastic news. Thanks again to all who voted so far, and my fans, for making this such a good day. Can't wait for November." - BRAD PAISLEY, Entertainer, Male Vocalist, Single, Album and Music Video of the Year

"This is what dreams are made of." - KELLIE PICKLER, Horizon

"I really only intended for Love, Pain & the whole crazy thing to be the title of an album, not a premonition of the year ahead. But with the extraordinary love of my wife and the support of the industry, I've been able to get back on the road to do what I love to do most, and to watch these songs connect in a way that I've never seen before. But for this particular year to culminate with these nominations has truly blown me away. I'm so looking forward to actually being at the show this year." - KEITH URBAN, Entertainer, Male Vocalist and Album of the Year

"I've had some great opportunities in my musical career. I have been able to not only grow as an artist in the pop/rock format, but I've also been able to grow in the Country genre. To be nominated for CMA Vocal Duo of the Year is such an honor. It's exciting to know CMA members recognize Jessica's and my contributions to Country Music." - MICHELLE BRANCH of THE WRECKERS, Vocal Duo of the Year

"It is a dream come true to be acknowledged by CMA and the Country Music industry. It was exciting to be nominated for Vocal Duo of the Year in 2006, and to be nominated again in 2007 amongst such talented artists and musicians in this category is a thrill. Thanks to everyone for this honor." - JESSICA HARP of THE WRECKERS, Vocal Duo of the Year

"THE 41ST ANNUAL CMA AWARDS" FINAL NOMINEES

ENTERTAINER OF THE YEAR

Kenny Chesney
Brad Paisley
Rascal Flatts
George Strait
Keith Urban

FEMALE VOCALIST OF THE YEAR

Alison Krauss
Miranda Lambert
Martina McBride
Reba McEntire
Carrie Underwood

MALE VOCALIST OF THE YEAR

Kenny Chesney
Brad Paisley
George Strait
Josh Turner
Keith Urban

VOCAL GROUP OF THE YEAR

Alison Krauss and Union Station featuring Jerry Douglas
Dixie Chicks
Emerson Drive
Little Big Town
Rascal Flatts

VOCAL DUO OF THE YEAR

Big & Rich
Brooks & Dunn
Montgomery Gentry
Sugarland
The Wreckers

SINGLE OF THE YEAR
(Award goes to artist and producer)

"Anyway"
MARTINA McBRIDE
Produced by Martina McBride
RCA Records

"Before He Cheats"
CARRIE UNDERWOOD
Produced by Mark Bright
19 Recordings Limited / Arista Records

"Lost In This Moment"
BIG & RICH
Produced by Big Kenny / John Rich
Warner Bros. Nashville

"Ticks"
BRAD PAISLEY
Produced by Frank Rogers / Chris DuBois
Arista Nashville

"Wrapped"
GEORGE STRAIT
Produced by Tony Brown / George Strait
MCA Nashville

ALBUM OF THE YEAR
(Award goes to artist and producer)

5th Gear
BRAD PAISLEY
Produced by Frank Rogers / Chris DuBois
Arista Nashville

It Just Comes Natural
GEORGE STRAIT
Produced by Tony Brown / George Strait
MCA Nashville

Long Trip Alone
DIERKS BENTLEY
Produced by Brett Beavers
Capitol Records Nashville

Love, Pain & the whole crazy thing
KEITH URBAN
Produced by Dann Huff / Keith Urban
Capitol Records Nashville

These Days
VINCE GILL
Produced by Vince Gill / John Hobbs / Justin Niebank
MCA Nashville

SONG OF THE YEAR
(Award goes to songwriter and primary publisher)

"Anyway"
MARTINA McBRIDE / BRAD WARREN / BRETT WARREN
Delemmava Music / L'ile Des Auteurs Music

"Before He Cheats"
JOSH KEAR / CHRIS TOMPKINS
Big Yellow Dog Music / Sony/ATV Cross Keys / Big Loud Shirt

"Give It Away"
BILL ANDERSON / BUDDY CANNON / JAMEY JOHNSON
Sony/ATV Tree / EMI Blackwood / Run Slow Music

"Lost In This Moment"
JOHN RICH / KEITH ANDERSON / RODNEY CLAWSON
Warner/Chappell Music / Writer's Extreme / EMI April Music

"Stupid Boy"
DAVE BERG / DEANNA BRYANT / SARAH BUXTON
Cal IV Songs / Song Planet / Big Loud Songs

HORIZON

Jason Aldean
Rodney Atkins
Little Big Town
Kellie Pickler
Taylor Swift

MUSICAL EVENT OF THE YEAR
(Award goes to each artist)

Reba McEntire with Kelly Clarkson
"Because of You"
MCA Nashville

Tracy Lawrence featuring Tim McGraw and Kenny Chesney
"Find Out Who Your Friends Are"
Rocky Comfort Records / CO5

Jimmy Buffett with George Strait and Alan Jackson
"Hey Good Lookin'"
MCA Nashville

Alison Krauss and John Waite
"Missing You"
Rounder Records

Vince Gill with guest vocalist Alison Krauss
"The Reason Why"
MCA Nashville

MUSIC VIDEO OF THE YEAR
(Award goes to artist and director)

"Anyway"
MARTINA McBRIDE
Directed by Robert Deaton and George J. Flanigen IV

"Before He Cheats"
CARRIE UNDERWOOD
Directed by Roman White

"Moments"
EMERSON DRIVE
Directed by Steven Goldmann

"Online"
BRAD PAISLEY
Directed by Jason Alexander

"You Save Me"
KENNY CHESNEY
Directed by Shaun Silva

MUSICIAN OF THE YEAR

Eddie Bayers - Drums
Jerry Douglas - Dobro
Dann Huff - Guitar
Mac McAnally - Guitar
Randy Scruggs - Guitar

   

Images for above article.

 

 

 

 
Official logo of "The 41st Annual CMA Awards" Black Background (Designed for 3' and under display size)
Photo: n/a

 

Brad Paisley will perform on "The 41st Annual CMA Awards" on Nov. 7, 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. Paisley is pictured performing on "The 40th Annual CMA Awards."
Photo: John Russell / CMA

 

George Strait will perform on "The 41st Annual CMA Awards" on Nov. 7, 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. Strait is pictured performing on "The 40th Annual CMA Awards."
Photo: John Russell / CMA

 

Kenny Chesney will perform on "The 41st Annual CMA Awards" on Nov. 7, 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. Chesney is pictured performing on "The 40th Annual CMA Awards."
Photo: John Russell / CMA

 

THE YEAR'S TOP ARTISTS PERFORM ON THE CMA AWARDS
By Wendy Pearl

 

The list of Country luminaries performing on "The 41st Annual CMA Awards" reads like a who's who of the format's finest and freshest faces.

"The slate of nominees for the 2007 CMA Awards speaks to the strength, diversity and vitality of the format," said CMA Chief Operating Officer Tammy Genovese. "And this year's Awards will reflect that in every performance. The CMA Awards is the industry's biggest single opportunity to expand the format and reach a broader audience with our music. And we have a strong slate of nominees and an incredible pool of music to draw from. We are dedicated to delivering the best-of-the-best."

Artists performing on the CMA Awards include Jason Aldean, Rodney Atkins, Big & Rich, Brooks & Dunn, Kenny Chesney, Eagles, Alison Krauss, Miranda Lambert, Martina McBride, Reba McEntire in a duet with LeAnn Rimes, Brad Paisley, Kellie Pickler, George Strait, Sugarland, Taylor Swift, Josh Turner, Carrie Underwood and Keith Urban. Rascal Flatts will open the festivities and also perform with Jamie Foxx later in the broadcast.

The Eagles will make their first-ever awards show performance at "The 41st Annual CMA Awards" airing live on Wednesday, Nov. 7 (8-11 PM/ET) on the ABC Television Network from the Sommet Center in Nashville.

The band's decision to appear on the CMA Awards follows the success of their recently released Country single, "How Long," which has been embraced by Country Music fans and is climbing the Country Music charts. "How Long" is the first single from the group's new double album, Long Road out of Eden, featuring 20 new studio recordings.

"From the early '70s this group has defined Country rock, and more than three decades later they are still creating music that resonates with our audience," said Genovese. "They are an outstanding addition to the incredible lineup of performers for the CMA Awards."

Multi-talented, Academy Award winning actor Jamie Foxx joins reigning CMA Awards Vocal Group of the Year Rascal Flatts for a duet performance during the CMA Awards. Rascal Flatts will open "Country Music's Biggest NightT" with the title track from their third consecutive No. 1 album, Still Feels Good. Later in the broadcast, they will perform "She Goes All the Way" with Foxx. The duet with Foxx was penned by Gary LeVox, Jay DeMarcus and Joe Don Rooney and is also on the album.

LeVox and Foxx have known each other for more than a decade. They were introduced by Foxx's manager Marcus King and were roommates for a brief time in the late 1990s while LeVox was pursuing a music career on the west coast. They reestablished their friendship after running into each other at the 2007 Grammy Awards and have been in regular contact since, which resulted in the duet.

"Jamie is an incredible talent and we were thrilled he took us up on our invitation to join us on the song," said LeVox. "He said he'd do it if we would sing on one of his records, so it's a pretty good swap. He came to Nashville just after finishing his comedy tour to work on it with us."

"It was an easy song to write once we had the first few lines and it's a really wonderful thing to have Jamie join us on the record," said DeMarcus. "We run into him at awards show and he always tells us how much he enjoys the music and how proud he is of Gary. We sent the song to him early this year and he said he'd love to do it."

"This is destined to be the sort of one-of-a-kind performance for which the CMA Awards are known for," said Genovese. "When there is a meaningful and tangible connection between artists from seemingly diverse musical styles, bringing them together on the CMA Awards creates magical moments that resonate with our audience and expand awareness of the format."

For the first time in the history of the CMA Awards, multiple artists will share hosting duties during the three-hour gala including Sara Evans and LeAnn Rimes. Other segment hosts will be announced soon.

"The CMA Awards are a platform for reaching a large network audience with our best and brightest stars," said Genovese. "Providing additional on-air opportunities for several of our artists to host segments of the program provides a different point of view throughout the night and keeps the pace of the CMA Awards fresh and exciting. These artists are personable, engaging, respected by their peers and beloved by the fans. Having artists host the CMA Awards is a cornerstone of this event - we are simply inviting a few more to the podium."

Presenters on the CMA Awards include Luke Bryan, Jason Michael Carroll, Bucky Covington, Sheryl Crow, Jewel with Ty Murray, Kid Rock, Montgomery Gentry, Blake Shelton, Gretchen Wilson and Dwight Yoakam.

Additional artists performing and presenters at the CMA Awards will be announced at a later date.

And just like their favorite nominated artists and CMA Awards' performers and presenters, fans too can dress up for "The 41st Annual CMA Awards" with a complete line of branded merchandise available now at the official Web site of the CMA Awards, www.CMAawards.com.

"While the legends, rising stars, and superstars of Country Music are shining at 'The 41st Annual CMA Awards,' our fans can also look like stars in their official CMA Awards merchandise," said Genovese. 

Thirteen items are currently available at www.CMAawards.com. To view the selection, click on the Official CMA Awards Store. Featured CMA Awards attire includes a polo-style shirt; quarter zip pullover; track jacket; two ball caps; and various men and women's T-shirts. CMA Awards field and mini-duffle bags are available as well as a commemorative coffee mug.

CMA is once again proud to announce Music City Merchandise as the official merchandiser for the CMA Awards. Music City Merchandise is the official merchandiser for Country artists including CMA Awards nominees Jason Aldean and Dierks Bentley, in addition to Trace Adkins, Travis Tritt as well as legendary artists The Beach Boys and B.B. King.

"We have enjoyed working with Music City Merchandise to develop merchandise which embodies the fun and excitement of the CMA Awards," Genovese said.

Tickets for the 2007 CMA Awards are on sale now and can be purchased by logging on to www.ticketmaster.com; calling (615) 255-9600; or in person at the Sommet Center box office, 501 Broadway (corner of Fifth Avenue and Broadway, in Nashville). Ticket prices begin at $164 (excluding applicable service/handling fees), with prices increasing depending on seating level.

"The 41st Annual CMA Awards" is a production of the Country Music Association. Walter C. Miller is the Executive Producer, and Robert Deaton is the Producer. Paul Miller is the Director. David Wild is the writer. The special will be shot in high definition and broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

Premiere Radio Networks is the official radio packager of the CMA Awards, including a stereo-radio simulcast of the gala event. American Airlines is the official airline of the 2007 CMA Awards. Chevy: The Official Ride of Country Music. Mary Kay is the Official Beauty Sponsor. Additional promotional partners include AOL, LLC.; Borders Books & Music; Carl Black Chevrolet; Coca-Cola; Dr Pepper; Gibson Guitar; Greased Lightning Cleaning Products; Hard Rock Cafe Nashville; Mr. Coffee; and The Yankee Candle Company.
 

   

Images for above article.

 

 

 

 
Eagles will perform on "The 41st Annual CMA Awards" on Nov. 7, 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. (l-r) Glenn Frey, Joe Walsh, Timothy B. Schmit, Don Henley. Photo: Andrew Macpherson
Photo: See Caption

 

Reba McEntire will perform her duet with LeAnn Rimes on "The 41st Annual CMA Awards" Nov. 7 from the Sommet Center in Nashville, Tenn. and broadcast live on ABC. McEntire is pictured at "The 2007 CMA Music Festival."
Photo: John Russell / CMA

 

Carrie Underwood will perform on "The 41st Annual CMA Awards" on Nov. 7, 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. Underwood is pictured performing on "The 40th Annual CMA Awards."
Photo: John Russell / CMA

 

Jamie Foxx will perform with Rascal Flatts on "The 41st Annual CMA Awards," live from teh Sommet Center, Wednesday, Nov. 7 at 8/7c on the ABC Television Network. Photo: courtesy of J Records
Photo: See Caption

 

BIG & RICH KICK-OFF CMA AWARDS DAY ON "GOOD MORNING AMERICA"
By Wendy Pearl

 

Wake up and then celebrate into the night with Big & Rich. The CMA Awards multiple nominated duo will perform on ABC's "Good Morning America" Wednesday, Nov. 7, and they are also scheduled to perform that night during "The 41st Annual CMA Awards" live from Nashville on the ABC Television Network. 

The "Good Morning America" concert event will take place on The Chevy Stage at the Sommet Center's outside plaza at the corner of Broadway and Fifth Avenue in Nashville and is presented by Chevrolet. ABC's "Good Morning America" will also celebrate "The 41st Annual CMA Awards," airing later that night (8-11PM/ET) live from the Sommet Center in Nashville.

"With Big & Rich performing on 'Good Morning America' you can leave the caffeine in the coffee pot," said CMA Chief Operating Officer Tammy Genovese. "What a great way to jump start the day and then tune in that night for their performance on the CMA Awards. It's Big & Rich from sun up to sun down!"

John Rich commented, "Tammy's correct - we are bringing two shots of espresso your way with a little Big & Rich on 'Good Morning America' to kick start your day, and we continue the party well into the night when we are back on the CMA Awards."

"Brothers and sisters, Nov. 7 will be Big & Rich day on ABC!" continued Big Kenny Alphin. "We are extremely honored to be nominated for Duo and Single of the Year. The CMA Awards have always been Country Music's Biggest Night. To be part of it, in addition to being on GMA that morning, all I can say is that we are thrilled to bring Country Music to America all day long."

Rich and Big Kenny scored multiple CMA Awards nominations in 2007 including Vocal Duo and Single of the Year for "Lost In This Moment" (which they also produced). Rich was also nominated as a songwriter with Keith Anderson and Rodney Clawson for "Lost In This Moment," Big & Rich's first No. 1 single.

The world was introduced to the genre-bending duo with the release of their 2004 triple-Platinum, No. 1 debut release Horse Of A Different Color, which spawned their career-launching hit "Save A Horse (Ride A Cowboy)."

Their 2005 CD Comin' To Your City, also achieved Platinum status, fueled by the CMA Awards nominated poignant song "8th of November." Their current release, Between Raising Hell And Amazing Grace, also debuted at No. 1 on the Country charts and includes "Lost In This Moment,' their fastest-rising single of their career.

Country Music enthusiasts have an opportunity to experience the excitement of "Country Music's Biggest NightT" in person. "Good Morning America" launched a sweepstakes on ABCnews.com today to win two (2) tickets to the 2007 CMA Awards and two (2) tickets to "Good morning America" for the Big & Rich concert. Go to ABCnews.com for details on how to enter.

"Chevy is proud to be 'the Official Ride of Country Music'," said Kim Kosak, Chevrolet General Director of Advertising and Sales Promotion. "Big & Rich are longtime friends of Chevrolet. We've sponsored their concert tours, featured them in our annual 'Year in Country Music' calendar and we're thrilled to welcome them back to the Chevy Stage for a high energy live performance on Good Morning America."

Artists performing on the CMA Awards include Jason Aldean, Rodney Atkins, Big & Rich, Brooks & Dunn, Kenny Chesney, Eagles, Alison Krauss, Miranda Lambert, Martina McBride, Reba McEntire in a duet with LeAnn Rimes, Brad Paisley, Kellie Pickler, George Strait, Sugarland, Taylor Swift, Josh Turner, Carrie Underwood and Keith Urban. Rascal Flatts will open the festivities and also perform with Jamie Foxx later in the broadcast.

Presenters include Luke Bryan, Jason Michael Carroll, Bucky Covington, Sheryl Crow, Jewel with Ty Murray, Kid Rock, Montgomery Gentry, Blake Shelton, Gretchen Wilson and Dwight Yoakam.

Additional artists performing and presenters at the CMA Awards will be announced at a later date.

For the first time in the history of the CMA Awards, multiple artists will share hosting duties during the three-hour gala including Sara Evans and LeAnn Rimes. Other segment hosts will be announced soon.

ABC News' "Good Morning America" is anchored by Diane Sawyer and Robin Roberts. Chris Cuomo is the news anchor and Sam Champion is the weather anchor. The morning news program airs live from 7-9 AM/EDT, Monday through Friday, on the ABC Television Network. Jim Murphy is the senior executive producer and Tom Cibrowski is the executive producer of ABC News' "Good Morning America."

Chevrolet is one of America¹s best-known and best-selling automotive brands.
With the largest dealer network in the United States, Chevy is the leader in full-size trucks and the leader in sales of vehicles priced $35,000 and above. Chevy delivers expressive design, spirited performance and great value with standard features usually found only on more expensive vehicles. For more information please visit www.chevrolet.com.
 
Tickets for the 2007 CMA Awards are on sale now and can be purchased by logging on to www.ticketmaster.com; calling (615) 255-9600; or in person at the Sommet Center box office, 501 Broadway (corner of Fifth Avenue and Broadway, in Nashville). Ticket prices begin at $164 (excluding applicable service/handling fees), with prices increasing depending on seating level.

"The 41st Annual CMA Awards" is a production of the Country Music Association. Walter C. Miller is the Executive Producer and Robert Deaton is the Producer. Paul Miller is the Director. David Wild is the writer. The special will be shot in high definition and broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

Premiere Radio Networks is the official radio packager of the CMA Awards, including a stereo-radio simulcast of the gala event. American Airlines is the official airline of the 2007 CMA Awards. Chevy: The Official Ride of Country Music. Mary Kay is the Official Beauty Sponsor. Additional promotional partners include AOL, LLC.; Borders Books & Music; Carl Black Chevrolet; Coca-Cola; Dr Pepper; Gibson Guitar; Greased Lightning Cleaning Products; Hard Rock Cafe Nashville; Mr. Coffee; and The Yankee Candle Company.

   

Images for above article.

 

 

 

 
Big & Rich will perform on "Good Morning America" live from Nashville on the morning of Nov. 7. That evening, they will perform on "The 41st Annual CMA Awards" live on ABC. Big & Rich is shown performing at "The 39th Annual CMA Awards." Photographer: Michael Loccisano / FilmMagic.com
Photo: See Caption

 

Sugarland will perform on "The 41st Annual CMA Awards" on Nov. 7, 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. Sugarland is pictured performing on "The 40th Annual CMA Awards."
Photo: John Russell / CMA

 

Martina McBride will perform on "The 41st Annual CMA Awards" on Nov. 7, 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. McBride is pictured performing on "The 40th Annual CMA Awards."
Photo: John Russell / CMA

 

Rascal Flatts will perform on "The 41st Annual CMA Awards" on Nov. 7. 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. Rascal Flatts is pictured performing on "The 40th Annual CMA Awards."
Photo: John Russell / CMA

 

ABC.COM EXCLUSIVE COVERAGE LEADING UP TO CMA AWARDS
By Wendy Pearl

 

Dedicated to expanding its network and channel brands across multiple platforms and connecting viewers with their favorite shows anytime and anywhere, Disney-ABC Television Group is offering daily coverage leading up to "The 41st Annual CMA Awards" with "The Countdown to Country Music's Biggest NightT" on www.ABC.com.  The coverage will include nine daily shows and one live event, which will also be available at www.CMAawards.com and will be distributed to ABC's mobile partners and affiliates. 

ABC Digital Media will be producing a daily five-minute show for the nine days prior to the CMA Awards, hosted by former Miss Tennessee, Ashley Eicher and CMA Award presenter and Capitol Records recording artist Luke Bryan.

In an entertainment/news format, "Countdown to Country Music's Biggest Night" will cover the events that take place during the days leading up to the CMA Awards. It will also feature interviews with Country Music artists, coverage of the "Nashville Celebrates Country" events surrounding the Awards, and much more.

The first show will go live on Wednesday Oct. 31, and a new show will premiere every day through Wednesday Nov. 7. On Nov. 7, www.ABC.com will stream a three-hour hosted live Red Carpet show from 5-8 PM/ET, leading up to the premiere of "The 41st Annual CMA Awards" on ABC-TV at 8-11 PM/ET.  The live Red Carpet show will also be simulcast live on ABC Mobile - a network first. The last daily show is a post-event/party wrap-up that will be available online Thursday, Nov. 8. The daily and live Red Carpet shows are produced in full by the www.ABC.com Digital Media Group.

This summer, www.ABC.com and CMA teamed to provide Country Music fans with a behind-the-scenes look at the 2007 CMA Music Festival. Online users were able to follow various Country Music stars through the assorted events and activities that made up CMA Music Festival. 

Performers for the CMA Awards include Jason Aldean, Rodney Atkins, Big & Rich, Brooks & Dunn, Kenny Chesney, Alison Krauss, Miranda Lambert, Martina McBride, Brad Paisley, Kellie Picker, Rascal Flatts, George Strait, Sugarland, Taylor Swift, Josh Turner, Carrie Underwood and Keith Urban. Reba McEntire will perform a duet with LeAnn Rimes. Academy Award winning actor Jamie Foxx will join reigning CMA Vocal Group of the Year Rascal Flatts for a duet performance and the Eagles will make their first-ever awards show performance.

Sara Evans and LeAnn Rimes will host segments of the three-hour broadcast with other hosts to be announced. CMA Awards presenters include Bryan, Jason Michael Carroll, Bucky Covington, Sheryl Crow, Jewel with Ty Murray, Kid Rock, Montgomery Gentry, Blake Shelton, Gretchen Wilson and Dwight Yoakam..

Additional artists performing and presenters at the CMA Awards will be announced at a later date.

Disney-ABC Television Group is home to all of The Walt Disney Company's worldwide entertainment and news television properties. The Group includes the ABC Television Network, Disney Channel's worldwide portfolio of kids' channels, ABC Family and SOAPnet; as well as television production and syndication divisions Touchstone Television, Walt Disney Television Animation, Buena Vista Worldwide Television and Walt Disney Television International. Disney-ABC Television Group also manages the Radio Disney Network in addition to the Company's equity interest in Lifetime Entertainment Services, A&E Television Networks and E! Networks.

Tickets for the 2007 CMA Awards are on sale now and can be purchased by logging on to www.ticketmaster.com; calling (615) 255-9600; or in person at the Sommet Center box office, 501 Broadway (corner of Fifth Avenue and Broadway, in Nashville). Ticket prices begin at $164 (excluding applicable service/handling fees), with prices increasing depending on seating level.

"The 41st Annual CMA Awards" is a production of the Country Music Association. Walter C. Miller is the Executive Producer and Robert Deaton is the Producer. Paul Miller is the Director. David Wild is the writer. The special will be shot in high definition and broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

Premiere Radio Networks is the official radio packager of the CMA Awards, including a stereo-radio simulcast of the gala event. American Airlines is the official airline of the 2007 CMA Awards. Chevy: The Official Ride of Country Music. Mary Kay is the Official Beauty Sponsor. Additional promotional partners include AOL, LLC.; Borders Books & Music; Carl Black Chevrolet; Coca-Cola; Dr Pepper; Gibson Guitar; Greased Lightning Cleaning Products; Hard Rock Cafe Nashville; Mr. Coffee; and The Yankee Candle Company.

   

Images for above article.

 

 

 

 
Capitol Recording artist Luke Bryan will co-host "The Countdown to Country Music's Biggest Night" on ABC.com. Photo: Juan Pont Lezica
Photo: See Caption

 

Kellie Pickler will perform on "The 41st Annual CMA Awards" on Nov. 7, 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. Photo courtesy of BNA Records.
Photo: See Caption

 

Josh Turner will perform on "The 41st Annual CMA Awards" on Nov. 7, 2007, broadcast live on ABC Television from the Sommet Center in Nashville, Tenn. Turner is pictured performing on "The 40th Annual CMA Awards."
Photo: John Russell / CMA

 

Jason Aldean will perform at "The 41st Annual CMA Awards" broadcast live from the Sommet Center, Nov. 7 on ABC. Aldean is pictured performing on "The 40th Annual CMA Awards."
Photo: John Russell / CMA

 

"NASHVILLE CELEBRATES COUNTRY" EVENTS LEADING UP TO THE CMA AWARDS
By Wendy Pearl

 

To involve the City of Nashville in the celebrations of "The 41st Annual CMA Awards," CMA has assembled several exciting events and activities leading up to the Awards dubbed "Nashville Celebrates Country."

"We are delighted to be able to involve the City of Nashville in the events leading up to the Awards gala," said CMA Chief Operating Officer Tammy Genovese.  "The support we receive from our city is tremendous and we want everyone to join us in this celebration."

"Nashville Celebrates Country" will highlight private and public events and promotional initiatives throughout Downtown Nashville with live music, celebrity appearances, charity benefits and more. The activities are designed to generate even more excitement and attention for the CMA Awards, which will be held Wednesday, Nov. 7 (8-11 PM/ET, 7-10PM/CT) at the Sommet Center and broadcast live on the ABC Television Network.

MONDAY, NOV. 5

1. Premiere Radio Networks - Radio Remote Broadcast (Private event)
Forty-nine radio stations from major cities coast-to-coast broadcast morning and afternoon drive time Monday through Wednesday, Nov. 5-7, from Nashville. Nationally-syndicated "After Midnite with Blair Garner" will also participate in the Premiere remotes.

2. Chevy Music Tour (CMA event, free/open to the public)
Chevy Music Tour elements will include an interactive XM Satellite Radio trailer, some of Chevy's latest cars and trucks, including the all new Chevy Malibu and the opportunity for fans to be digitally included in photos of their favorite artists from the "Chevy Year in Country Music" calendar.

Details
Time:   12 Noon-6 PM/CT
Location:   Sommet Center Plaza, corner of Broadway and Fifth Avenue

3. Global Markets Showcase (CMA private event)
This event will feature a keynote address by Ant Cauchi from "Outside Line," a digital marketing company in the United Kingdom, and artist performances by Joanna Cotten, Jennifer Hanson, Lady Antebellum, David Nail and Whiskey Falls. Jace Everett will host for the third year.

4. Music City Walk of Fame Induction (Open to the public)
Six musical luminaries will be inducted into the Music City Walk of Fame, which begins at the Hall of Fame Park and works its way up Demonbreun Street toward Music Row on the Music Mile. The 2007 class of includes Rodney Crowell, Bob DiPiero, Vince Gill, Jimi Hendrix, Buddy Killen and Barbara Mandrell.

Details
Time:   3-5 PM/CT
Location:   Hall of Fame Park, Demonbreun Street, between Fourth and Fifth Avenues
Information:  Contact Nashville Convention & Visitors Bureau (615) 259-4730

5. Music on the Horizon (Ticketed event)
Presented by CMA, Music on the Horizon showcases the most highly anticipated new artists in Country Music. This concert event will feature performances by Laura Bryna, Crossin Dixon, Jennifer Hanson, Jypsi, Lady Antebellum, James Otto and Chuck Wicks.  The event is sponsored by American Airlines and Dr Pepper.

Details
Time:   7:30 PM/CT
Location:  City Hall, 405 12th Avenue South, (615) 244-2056
Tickets:  Tickets are $10 and are available for purchase beginning 10 AM/CT, Friday, Oct. 19, at www.Ticketmaster.com, by calling (615) 255-9600 and at all Ticketmaster outlets.

6. SESAC Nashville Music Awards (Private event)
SESAC's Nashville Music Awards and Dinner honors the successes of its member writers and publishers during the past year.

TUESDAY, NOV. 6

1. Chevy Music Tour (CMA event, free/open to the public)
Chevy Music Tour elements will include an interactive XM Satellite Radio trailer, some of Chevy's latest cars and trucks, including the All New Chevy Malibu and the opportunity for fans to be digitally included in photos of their favorite artists from the "Chevy Year in Country Music" calendar. Mr. Coffee will also be sampling its Cozy Classic and Decaf coffee.

Details
Time:  12 Noon-7:30 PM/CT
Location: Sommet Center Plaza, corner of Broadway and Fifth Avenue

          Chevy Music Tour Concert (CMA event free/open to the public)
Chevy will sponsor a free-to-the-public concert in Downtown Nashville on the Chevy Stage featuring performances by Emerson Drive, Phil Vassar and a surprise guest.

Details
Time:   5:30-7:30 PM/CT
Location:   Sommet Center Plaza, corner of Broadway and Fifth Avenue

2. 55th Annual BMI Country Awards (Private event)
The BMI Country Awards honor the songwriters and publishers of the 50 songs that received the most radio and TV airplay last year. Highlights of the black-tie gala include a tribute to Willie Nelson as a BMI icon and the announcements of the Songwriter and the Publisher of the Year, and the Most Performed Country Song of the Year (the Robert J. Burton Award).

3. Opry at the Ryman (Ticketed event)
The Grand Ole Opry returns to it original home at the Ryman Auditorium on this special night of music. Performers include Clay Walker, Collin Raye and others to be announced.

Details
Time:   7-9 PM/CT
Location:   Ryman Auditorium, 116 Fifth Avenue North
Tickets:   Adults $47.50/$37.50/$34.50, (children ages 4-11 $47.50/$27.50/$24.50). For more information or to order tickets call (615) 871-OPRY, or (800) SEE-OPRY (733-6779), or through Ticketmaster at www.Ticketmaster.com

4. Habitat for Humanity Concert of Appreciation Presented by Greased Lightning featuring Jo Dee Messina (Ticketed event)
Presented by Greased Lightning, Jo Dee Messina headlines this full-band concert honoring the volunteers who recently participated with the Nashville Area Habitat for Humanity.

Details
Time:   8:30 PM/CT; doors open at 7 PM
Location:   Cadillac Ranch, 305 Broadway
Tickets:  Tickets cost $10. Tickets may be purchased in advance through www.Digitalrodeo.com or at the Cadillac Ranch ticket office (615)742-9078
Information:  Call Adam Hesley at Cadillac Ranch at (615) 742-9078 or at
(740) 360-5517
 
5. CMA Songwriters Series (Ticketed event)
Award-winning Nashville songwriters Brett James, Carolyn Dawn Johnson, Rivers Rutherford and Victoria Shaw will perform some of their hits as well as give insight into the stories behind the songs.

Details
Time:   9:30 PM/CT
Location:   Hard Rock Cafe, 100 Broadway
Tickets:   Tickets are $15 and are available at all Ticketmaster outlets www.Ticketmaster.com
Information: Contact Hard Rock Cafe at (615) 742-9900

WEDNESDAY, NOV. 7

1. "Good Morning America" (Free and open to the public)
Big & Rich kick off CMA Awards day with a concert performance on ABC's "Good Morning America." The public is invited to come out for this free event on the Chevy Stage at the Sommet Center plaza on the corner of Broadway and Fifth Avenue. Please be advised that Fifth Avenue is closed between Broadway and Demonbreun; and Demonbreun is closed between Fifth and Sixth Avenue.

Details
Time:  7-8 AM/CT
Location:  Chevy Stage, Sommet Center, corner of Fifth Avenue and Broadway

2. Gibson Guitar Red Carpet Bleachers (Private event for contest winners only)
For the second year, Gibson Guitar, an official partner of the CMA Awards, will host the Gibson Guitar Red Carpet Bleachers. Fans and promotional winners will have a chance to greet the stars as they arrive at the Red Carpet in front of the Gibson Guitar Bleachers. Catch the latest, on-the-spot coverage from CMT, hear the fans scream and watch the stars as they arrive from this special vantage point.

3. "The 41st Annual CMA Awards" (CMA ticketed event)
"Country Music's Biggest Night" is broadcast live from the Sommet Center on the ABC Television Network.

Details
Time:  7- PM/CT (Pre-Telecast Awards begin at 6:30 PM/CT)
Location:  Sommet Center, 501 Broadway

Artists performing on the CMA Awards include Jason Aldean, Rodney Atkins, Big & Rich, Brooks & Dunn, Kenny Chesney, Eagles, Alison Krauss, Miranda Lambert, Martina McBride, Reba McEntire in a duet with LeAnn Rimes, Brad Paisley, Kellie Pickler, George Strait, Sugarland, Taylor Swift, Josh Turner, Carrie Underwood and Keith Urban. Rascal Flatts will open the festivities and also perform with Jamie Foxx later in the broadcast.

Presenters include Luke Bryan, Jason Michael Carroll, Bucky Covington, Sheryl Crow, Jewel with Ty Murray, Kid Rock, Montgomery Gentry, Blake Shelton, Gretchen Wilson and Dwight Yoakam.

Additional artists performing and presenters at the CMA Awards will be announced at a later date.

For the first time in the history of the CMA Awards, multiple artists will share hosting duties during the three-hour gala including Sara Evans and LeAnn Rimes. Other segment hosts will be announced soon.

Tickets for the 2007 CMA Awards are on sale now and can be purchased by logging on to www.ticketmaster.com; calling (615) 255-9600; or in person at the Sommet Center box office, 501 Broadway (corner of Fifth Avenue and Broadway, in Nashville). Ticket prices begin at $164 (excluding applicable service/handling fees), with prices increasing depending on seating level.

"The 41st Annual CMA Awards" is a production of the Country Music Association. Walter C. Miller is the Executive Producer and Robert Deaton is the Producer. Paul Miller is the Director. David Wild is the writer. The special will be shot in high definition and broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

Premiere Radio Networks is the official radio packager of the CMA Awards, including a stereo-radio simulcast of the gala event. American Airlines is the official airline of the 2007 CMA Awards. Chevy: The Official Ride of Country Music. Mary Kay is the Official Beauty Sponsor. Additional promotional partners include AOL, LLC.; Borders Books & Music; Carl Black Chevrolet; Coca-Cola; Dr Pepper; Gibson Guitar; Greased Lightning Cleaning Products; Hard Rock Cafe Nashville; Mr. Coffee; and The Yankee Candle Company.

   

Images for above article.

 

 

 

 
Jace Everett will return as host of the CMA Global Markets Showcase on Monday, Nov. 4 at Cabana in Nashville during "Nashville Celebrates Country." Everett is shown performing at the 2006 CMA Global Markets Showcase.
Photo: John Russell / CMA

 

Jennifer Hanson, seen here performing at the 2007 CMA Music Festival, will be a part of Music on the Horizon presented by American Airlines and Dr. Pepper®. The showcase features the most highly anticipated new artists in Country Music and takes place during Nashville Celebrates Country.
Photo: Theresa Montgomery / CMA

 

Emerson Drive joins Phil Vassar and a surprise guest to perform at the Chevy Music Tour Concert on Tuesday, Nov. 6, on Sommet Center Plaza in Downtown Nashville during Nashville Celebrates Country. Photo: Terry Calonge
Photo: See Caption

 

JoDee Messina will perform at a Nov. 6 concert in Nashville celebrating Habitat for Humanity families and volunteers during Nashville Celebrates Country. Photo: Courtesy www.JoDeeMessina.com
Photo: See Caption

 

 

 

Issue Date: 10/23/2007  
Music Plays and Cash Registers Ring at CMA Music Festival
By Tom Roland

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Downtown Nashville buzzed during the 2007 CMA Music Festival - not just the honky tonks up and down Broadway and the restaurants and clubs along Second Avenue, but also the stores whose wares have little to do with Country Music.

A visit to Tattoo, for instance, the body-art shop in the historic building at 301 Broadway, would have revealed 10 artists working full-time to leave indelible Festival impressions. Actually, the impressions were mutual: Patrons walked away with visible memories of their visit, and Tattoo Owner Billy Joe Warren went home with bulging pockets, having collected about six times his usual weekly receipts.

"There were some times when we were piled six to seven customers deep per artist," he said. "We had their telephone numbers so that they could go out and do their thing, and then we would call them when they were 10 minutes out from getting their tattoo. So that's [a waiting list of] 60 people deep during the course of that week."

This kind of success was hardly unique to Tattoo. Area restaurants were packed well before and after the typical rush hour. Seventeen clubs involved in the CMA Music Festival After HoursT program kept the party going long after midnight. During the afternoons, the sidewalks were packed so tightly that many who wanted photos of all the excitement at Tootsie's Orchid Lounge could only lift their cameras above the throngs at the door, click and hope for the best.
Add to that the money spent for hotels, transportation, food and souvenirs, and CMA Music Festival generated a record-setting $21 million in direct visitor spending for Music City, according to the Nashville Convention & Visitors Bureau.

"The clubs had record weeks, just sales through the roof," observed Butch Spyridon, NCVB President. "The hotels that offered 2008 packages have sold out next year already. They're getting four-night minimums and premium rates, and the fans are not complaining. They want the convenience, they want the logistics, they want the experience. What used to be more of a camping audience is now a Downtown hotel-stay audience."

One example of this new-breed customer would be Tattoo customer Maria Tooma of North Arlington, N.J., who has made a ritual out of getting a new tattoo inked at the Festival each year. During this year's Sunday-to-Sunday visit, she took in the CMA Music Festival Kick-Off Parade, the Chevy Music Tour shows outside the Sommet Center, the Nightly Concerts at LP Field, the Grand Ole Opry's Tuesday night show and one of the "CMA Celebrity Close Up" interview tapings presented by GAC at the Ryman Auditorium. By her estimation, she spent $2,500 on Festival-related activities, which included about $400 in cab fare to get her from the Renaissance Hotel in Downtown Nashville to malls and the Opryland Hotel in the days before the Festival began. It also included dinners, most often at The Palm on Fifth Avenue in Downtown.

As Tooma saw it, the atmosphere of the Festival resembles that of the neighborhood that surrounds another favorite destination, the Baseball Hall of Fame in Cooperstown, N.Y. "This stretch of Broadway reminds me of Main Street in Cooperstown," she said. "A few blocks away, you wouldn't know it was a baseball town."

So it was with Lower Broadway during the Festival. The area is already a tourist destination, so the presence of people sporting lime-green CMT tote bags, cameras and Festival lanyards was to be expected. Still, longtime Nashville residents expressed surprise at the number of 20-somethings attending this year's event.

"It was a much younger crowd this year than I've ever seen," noted Hardy Ross, Owner of Rippy's and the Broadway Brewhouse, where tables were completely filled during the brief rains that fell on Friday during the Festival. "It was a much more sophisticated crowd, a crowd on a higher economic scale.

"The economic impact Downtown has gone through the roof with this thing," he continued. "Now you're seeing it broadcast on television. That only adds to the mystique. People see that: 'Wow, next year I'm going to that, because I know for four days, I can see anybody I want to see!' It's a great environment, a fun town, hotels everywhere, a beautiful area. Moving it to Downtown was the best thing that could have happened."

Ross has the numbers to prove it, as the Brewhouse tripled its typical weekly revenue during the Festival, while Rippy's did four or five times its usual business.

Likewise, Joe's Crab Shack, located a block off of Broadway on Second Avenue, did $120,000 worth of business during the Festival - double its usual income for the period.

"We run with approximately 20 to 25 servers, but during that week we'll have anywhere from 35 to 40 servers, so we hire, hire, hire," said Kojo Asanta, Assistant GM, Joe's Crab Shack. "You don't necessarily worry about the cost, so to speak. You worry about taking care of the guests and making sure everything goes really smooth. The money's going to come in, so you don't worry about spending it."

Employees, as well as business owners, benefit during the Festival. Most servers bring in from $200 to $300 per night in tips during the week, Asante noted, which suggests Country Music fans can be generous tippers.

In earlier decades, when the event was still called Fan Fair, Nashvillians weren't always this happy to see the tourists streaming into town. Traffic jams often resulted, and with visitors spending their time at the Tennessee State Fairgrounds, they were less apt to spend money on the local economy.

That antagonism is pretty much a thing of the past. "There's definitely more local support from the average citizen and the business community, and that support is an appreciation of the event," said Spyridon. "CMA has worked extremely hard on that side. They've had a group of people meet regularly to brainstorm how we can communicate it better to the local community and have the community embrace it, both in attendance and value. I think that's beginning to take hold."

That local support is evident in the 14 percent increase in single-concert ticket sales and more than 191,000 aggregate attendance at this year's Festival. It's evident from the positive vibes of the Downtown merchants. And it reflects CMA's efforts at plowing half of the receipts back into the community, represented by CMA donating $1,053,856 (to date) for music education in Nashville Public Schools through "Keep the Music Playing," as well as the stamp of importance lent to the event by ABC-TV's special, "CMA Music Festival: Country's Night to Rock."

"CMA Music Festival has done as much or more for Downtown Nashville than any sports team has," Ross emphasized. "It is wonderful to see Nashville embrace what makes them unique from any other town in America. The city's musical heritage makes us different. We need to glorify it, hold it out, cherish it and embrace it."

"CMA Music Festival is a showcase for Nashville that drives tourism, generates a strong base of local revenue and contributes needed funds for music education in our public schools," said CMA Chief Operating Officer Tammy Genovese. "This is Nashville's signature musical event and our success and continued growth would not be possible without the support of Mayor Bill Purcell, the mayor's office and the city, Metro Council, Butch Spyridon and the NCVB, the Nashville Chamber of Commerce, the business community and local residents. What makes this event special is that everyone benefits as the Festival continues to achieve new heights generating additional income for the community and money for music education."

CMA Music Festival is an unparalleled music experience celebrating America's music. The event brings the community together with fans from around the world. Now in its 37th year, CMA Music Festival will be held on Thursday through Sunday, June 5-8, in Downtown Nashville. Dubbed the "crown jewel of Country Music Festivals" by USA Today and winner of the International Entertainment Buyers Association's 2004 and 2006 LIVE! Award for Festival of the Year, the event features four jam-packed days of music with more than 400 artists and celebrities, 90 hours of concerts, 30 hours of autograph signings, family activities, celebrity sports competitions and more.

Tickets for 2008 CMA Music Festival are available now. To order, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600. Prices do not include applicable handling fees. Ticket prices are subject to change without notice. All sales are final and non-refundable.

For up-to-the-minute information about tickets, travel information, schedules, artist appearances, and more, visit www.CMAfest.com and sign up for the CMA Exclusive e-news.

   

Images for above article.

 

 

 

 
Music City Nightlife on Broadway.
Photo: Karen Hicks / CMA

 

Festival attendees stroll the streets of Downtown Nashville.
Photo: Theresa Montgomery / CMA

 

Kix Brooks of Brooks & Dunn greets fans on Broadway. Photographer: Adam Larkey
Photo: See Caption

 

Joe's Crab Shack in Downtown Nashville.
Photo: Amanda Eckard / CMA

 

Album Sales Rocket After "CMA Music Festival: Country's Night to Rock"
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

According to Nielsen SoundScan, 14 of the 20 artists who performed on "CMA Music Festival: Country's Night to Rock" enjoyed a significant increase in album sales during the week that followed the July 23 broadcast on the ABC Television Network.

In some cases, these upticks were nothing short of spectacular: Martina McBride's Timeless, which had experienced a 30 percent increase in sales during the week ending July 22, exploded with a 184 percent surge over the following week while jumping from No. 62 to No. 29 on the Nielsen SoundScan Country Albums chart.

Other artists who apparently benefited from their exposure on the ABC-TV special included Dierks Bentley, Big & Rich, Brooks & Dunn, Little Big Town, Reba McEntire, Rascal Flatts and Taylor Swift.

The greatest gainers were:
PERCENT          ARTIST                 ALBUM
INCREASE
184                  Martina McBride   Timeless
174                  Sara Evans           Real Fine Place
45                    Josh Turner         Your Man
42                    Kellie Pickler        Small Town Girl
19                    The Wreckers      Stand Still, Look Pretty
17                    Sugarland            Enjoy the Ride
11                    Alan Jackson        Precious Memories
11                    Martina McBride   Waking Up Laughing

   

Images for above article.

 

 

 

 
Martina McBride performs at the Nightly Concert at LP Field during the 2007 CMA Music Festival.
Photo: John Russell / CMA

 

Sara Evans performs at the Nightly Concert at LP Field on Friday, June 8 during the 2007 CMA Music Festival.
Photo: John Russell / CMA

 

Josh Turner performs at the Nightly Concert at LP Field during the 2007 CMA Music Festival.
Photo: John Russell / CMA

 

Kellie Pickler performs at the Nightly Concert at LP Field during the 2007 CMA Music Festival.
Photo: John Russell / CMA

 

CMA Honored for Supporting Nashville Public Schools
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

The Nashville Alliance for Public Education (NAPE) presented its Bell Award to CMA on Aug.14, during a meeting of the Metro Nashville Public Schools (MNPS) board. NAPE, a nonprofit consortium of corporate and civic leaders dedicated to improving public education in Nashville, recognizes CMA for its "Keep the Music Playing" program, which donates half the net proceeds of CMA Music Festival to NAPE for music education in Nashville public schools. After receiving a standing ovation, rare in school board meetings, CMA Chief Operating Officer Tammy Genovese noted, "CMA has stepped up to the plate in a mighty big way to make a huge dent in our music program needs and keep the music playing in our schools."

   

Images for above article.

 
     
CMA receives the the Bell Award from the Nashville Alliance for Public Education during the Metro Nashville Public Schools (MNPS) board meeting. (l-r) Pam Garrett, Executive Director, Nashville Alliance for Public Education; Tammy Genovese, Chief Operating Officer, Country Music Association; Dr. Pedro Garcia, Director, Metro Nashville Public Schools; and Marsha Warden, Chairman of the Board of Directors, Metro Nashville Public Schools.
Photo: Amanda Eckard / CMA

 

     

Public Schools Receive $1,053,856 from CMA's "Keep the Music Playing"
By Bob Doerschuk and Wendy Pearl

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Children often speak from the heart in ways that adults can seldom do.

This was clear to all who gathered at the Boone Room in Hilton Nashville Downtown on the morning of Oct. 4, to witness the presentation of $655,625 to the Nashville Metro Public Schools (MNPS) through CMA's "Keep the Music Playing" (KTMP) program which funds music education, in partnership with the nonprofit Nashville Alliance for Public Education (NAPE). To date, CMA has donated $1,053,856 to build music labs and purchase instruments and much needed supplies for public school students.

An hour before the event began, while the Jazz Knights from Hume-Fogg Academic Magnet High School warmed up, reporters who had arrived early were filming, photographing or simply studying the photo displays of students at previous KTMP events and collages along both side walls of the room.

These collages were assembled from posters and letters created by students in the Nashville public schools' music programs. One fragment, from an aspiring percussionist named Katlyn, thanked CMA for helping to acquire the instruments used in her school and then added, "My favorite is the cabasa." Another young artist, Nisha Bhuva, made her point through portraiture, drawing a boy at work on a class assignment to "list school essentials." It turns out there are three: "Pencils, Paper, Music."

Adults added their voices to this chorus shortly after 9 AM, beginning with welcoming remarks from CMA Chief Operating Officer Tammy Genovese. Noting that students who had taken performing arts classes in MNPS had a 98 percent graduation rate as of 2006.  "Nashville is Music City. CMA Music Festival is our city's signature musical event. And music education in the public schools is where it all begins. It is up to all of us - the city, the business community and music industry - to 'Keep the Music Playing' for the children."

Mayor Karl Dean followed by paying tribute to CMA's role in invigorating music education. "'Keep the Music Playing' is a perfect example of a successful private/public partnership," he noted. "I believe strongly that if we are to continue serving our schools and providing our students with the resources they need to be successful in life, then we need to foster more partnerships like the one we're here to celebrate today. Music education is so important to our public school system, and thanks to 'Keep the Music Playing,' our schools are becoming better equipped with the instruments needed to bring music into the classroom. Nashville is fortunate to be home to the CMA, and we thank them for their generous contributions to our schools and their commitment to the music industry and our community."

Dr. Pedro E. Garcia, MNPS Director, expanded on this idea. "Many people outside the education community are unaware of the tremendous importance of music for children," said Garcia. "Learning music is exercise for the brain. It also provides an avenue of study many children love and embrace, providing motivation to continue their education. The financial support provided by CMA through the Nashville Alliance for Public Education allows us to keep music in our curriculum - and we are grateful for this wonderful contribution to our schools."

Live music documented the success of this partnership, with the Hume-Fogg Academic Magnet High School's Jazz Knights, led by Dr. Richard Ripani, backing vocalist Evie Farnsworth in a swinging rendition of "All of Me" and an ensemble from the Glenn Enhanced Option Elementary School, directed by Jonathan Vest, performing two works on a battery of marimbas, xylophones, tubanos, djembes and other percussion instruments.

The celebration peaked as Genovese presented a check for $655,625 - one half of the net profits generated by the 2007 CMA Music Festival - to Dean, Garcia and other dignitaries. Added to CMA's gift of $368,502 earlier this year from funds generated by the 2006 CMA Music Festival, as well as $10,000 to purchase lights and sound equipment for the Mayor Bill Purcell Performing Arts Theatre at Isaiah T. Creswell Middle Magnet School and $19,730 presented in 2005 to fund construction of a guitar lab at Nashville School of the Arts, the total amount given by CMA over the past two years to the Metro schools topped $1 million.

"'Keep the Music Playing' is proof that all of us in the music industry understand that the future of Music City depends on nurturing young musicians and performers today," said Genovese. "When we launched this initiative in 2006, we made a commitment to the students, the city and our artist community to use funds from the Festival to support a cause that is important to our industry and enriches lives. Thanks to our partnership with the Alliance and Metro Nashville Public Schools these funds are already making a significant difference in the lives of countless children and their families."

Artists perform at CMA Music Festival for free. To show its appreciation for their dedication and time, CMA donates half the net proceeds from the Festival to charity on their behalf. When the program began in 2001, it was known as CMA's "Cause for Celebration!" From 2001-2005 CMA contributed more than $800,000 to more than 100 worthy causes.

"We wanted to have a larger impact, by directing those funds into one cause that everyone believed in," Genovese said. "Music education was a natural choice for the artists and our Board of Directors. And today, we are seeing the results of those well-spent dollars with our student performers and speakers."

As CMA Board members, media representatives and other guests rose in a standing ovation, Dean embraced Genovese and joined her in holding the display check for all to see. Moments later, Pam Garrett, Executive Director of NAPE confided, "I have been speechless since we received this news. This just exceeds all our expectations. And I want to thank these wonderful students. They are why we're here."

Then, turning to the children from the Glenn group, each dressed in matching white shirt and khakis, she added, "Boys and girls, you have so many opportunities ahead of you because of the funding that's been made available by CMA. What I would like you to do - and I'll bet you can do it very well - is to say this all together, on the count of three ."

Following Garrett's cue, the Glenn kids shouted in joyous unison, "Thank you, CMA!" And so the final word, like the spirit of the occasion, was theirs as well.

"One hundred percent of all money donated by CMA Music Festival is used for music education and goes directly to the schools and school programs identified by the Nashville Alliance," said Steve Buchanan, Senior VP Media and Entertainment, Gaylord Entertainment and Chairman of the CMA Marketing and Communications Committee who serves as a representative on the NAPE Board of Directors for CMA. "This is a program that everyone in the city can be proud of."

"The Nashville Alliance is extremely grateful for the partnership with the Country Music Association," said Garrett. "Their aggressive commitment and high levels of funding make it possible to provide new instruments in our schools at every level. Our music programs are directly tied to achievement results. Ninety-eight percent of all MNPS high school students participating in performing arts graduate from high school and 80 percent go on to training beyond high school. This makes it a very important indeed that we 'Keep the Music Playing' - and where better than in Music City."

NAPE was established in 2002 by a group of corporate and civic leaders with the goal of improving public education for Nashville's school students. Working in tandem with the MNPS Board and the Director of Schools, the nonprofit group identifies areas of need and channels private community resources toward those programs and schools, which serve Metro Nashville's nearly 74,000 public school students in 134 MNPS.
 
"A quality music education should be the right of every student," Genovese said. "It is our goal to make sure that every student who wants to participate in band or an orchestra is able to do so. With the help of Mayor Dean, Dr. Garcia, the staff at Metro Schools, and Pam Garrett and the Alliance we hope to make that goal a reality."

The 2006 funds were used to purchase stage curtains, recording equipment and a truck to transport gear for students at Nashville School of the Arts in addition to piano labs and hundreds of musical instruments from bassoons and cellos, trumpets to tubas, keyboards to glockenspiels for students from elementary to high school. Thirteen schools benefited from the 2006 donation.

In 2007, 32 schools are receiving funds including:

Elementary: Glengarry, Glenn, J.E. Moss, Maxwell, Ruby Major and Tulip Grove.

Middle: Antioch, Apollo, Bailey, Bass, Bellevue, Croft Middle Design Center, Dalewood, DuPont Hadley, Gra Mar, H.G. Hill, Isaac Litton, John Early Paideia Magnet, John F. Kennedy, McKissack Professional Development Design Center, McMurray, Marshall (opening in 2008), Meigs Magnet, William Henry Oliver and Wright.

High: Hume-Fogg Magnet, Hunters Lane, Martin Luther King Jr. Magnet, McGavock, Overton, Pearl-Cohn and Stratford Comprehensive.

Following is a list of instruments and resources to be purchased for these schools with "Keep the Music Playing" funds.

Antioch Middle School
. (2) Flute
. (1) Oboe
. (2) Clarinet
. (1) Contra Alto Clarinet
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (2) Trumpet
. (4) French Horn
. (3) Trombone
. (4) Baritone
. (3) Tuba
. (2) Timpani

Apollo Middle School
. (2) Flute
. (1) Oboe
. (2) Clarinet
. (2) Bass Clarinet
. (1) Contra Alto Clarinet
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (2) Trumpet
. (2) French Horn
. (3) Trombone
. (4) Baritone
. (3) Tuba
. (1) Marimba
. (2) Timpani

Bailey Middle School
. (6) Flute
. (6) Clarinet
. (2) Bass Clarinet
. (3) Alto Saxophone
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (6) Trumpet
. (2) French Horn
. (2) Trombone
. (4) Baritone
. (2) Tuba
. (1) Xylophone
. (4) Percussion kit

Bass Middle School
. (10) Flute
. (10) Clarinet
. (2) Bass Clarinet
. (1) Contra Alto Clarinet
. (4) Alto Saxophone
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (10) Trumpet
. (4) French Horn
. (6) Trombone
. (4) Baritone
. (3) Tuba
. (1) Xylophone
. (4) Percussion kit

Bellevue Middle School
. (1) Marimba
. (1) Vibraphone
. (2) Timpani

Croft Middle Design Center
. (1) Marimba
. (1) Vibraphone
. (2) Timpani

Dalewood Middle School
. (10) Flute
. (10) Clarinet
. (2) Bass Clarinet
. (1) Contra Alto Clarinet
. (4) Alto Saxophone
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (10) Trumpet
. (4) French Horn
. (6) Trombone
. (4) Baritone
. (4) Tuba
. (1) Xylophone
. (4) Percussion kit

DuPont Hadley Middle School
. (3) Flute
. (2) Oboe
. (1) Xylophone
. (2) Timpani

Glenn Elementary
. Orff Instruments

Glengarry Elementary
. Orff Instruments

Gra Mar Middle School
. (6) Flute
. (6) Clarinet
. (2) Alto Saxophone
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (6) Trumpet
. (6) Trombone
. (3) Baritone
. (2) Tuba
. (4) Percussion kit

H. G. Hill Middle School
. (1) Marimba

Hume -Fogg Academic Magnet High School
. (1) Oboe
. (2) Tenor Saxophone
. (1) Bass Drum
. (1) Marimba
. (1) Vibraphone

Hunters Lane High School
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (4) Marching F Horn
. (2) Baritone
. (2) Tuba

J. E. Moss Elementary
. Orff Instruments

John Early Middle School
. (3) Alto Saxophone
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (4) French Horn
. (2) Tuba

John F. Kennedy Middle School
. (1) Marimba
. (1) Vibraphone

Litton Middle School
. (10) Flutes
. (10) Clarinets
. (2) Bass Clarinets
. (1) Contra Alto Clarinet
. (3) Alto Saxophones
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (10) Trumpets
. (4) French Horns
. (6) Trombones
. (4) Baritones
. (4) Tubas
. (1) Marimba
. (4) Percussion kit

McGavock High School
. (1) Oboe
. (2) Tenor Saxophone

McKissack Middle Schools
. (5) Flute
. (4) Clarinet
. (2) Bass Clarinet
. (1) Contra Alto Clarinet
. (4) Alto Saxophone
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (4) Trumpet
. (4) French Horn
. (6) Trombone
. (4) Baritone
. (4) Tuba
. (1) Xylophone
. (4) Percussion kit

McMurray Middle School
. (10) Flute
. (10) Clarinet
. (2) Oboe
. (3) Alto Saxophone
.  (2) Tenor Saxophone
. (1) Baritone Saxophone
. (10) Trumpet
. (4) French Horn
. (6) Trombone
. (4) Baritone
. (4) Percussion kit

Marshall Middle School (opening in 2008 - 2009)
. (10) Flute
. (2) Oboe
. (2) Bassoon
. (10) Clarinet
. (4) Bass Clarinet
. (1) Contra Alto Clarinet
. (4) Alto Saxophone
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (10) Trumpet
. (4) French Horn
. (10) Trombone
. (6) Baritone
. (6) Tuba
. (1) Snare Drum with stand
. (1) Bass Drum with stand
. (1) Orchestra Bells
. (1) Xylophone
. (2) Timpani
. (1) Crash Cymbals

Martin Luther King Jr. Magnet (7th - 12th)
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (2) Bassoon
. (4) Baritone
. (2) Tuba
. (4) Cellos
. (2) Double Basses

Maxwell Elementary
. Orff Instruments

Meigs Middle Magnet School
. (1) Baritone Saxophone
. (1) Marimba

Oliver Middle School
. (2) Bassoon
. (2) Tuba
. (1) Marimba
. (1) Vibraphone

Overton High School
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (1) Oboe

Pearl-Cohn High School
. (3) Marching F Horn
. (4) Marching Baritone

Ruby Majors Elementary
. Orff Instruments

Stratford High School
. (2) Flute
. (3) Clarinet
. (1) Oboe
. (3) Alto Saxophone
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (8) Trumpet
. (2) French Horn
. (6) Trombone
. (4) Baritone
. (2) Tuba
. (1) Marimba

Tulip Grove Elementary
. Orff Instruments

Wright Middle School
. (5) Flutes
. (6) Clarinet
. (2) Bass Clarinet
. (1) Contra Alto Clarinet
. (4) Alto Saxophone
. (2) Tenor Saxophone
. (1) Baritone Saxophone
. (6) Trumpet
. (6) Trombone
. (4) Baritone
. (4) Tuba
. (1) Xylophone
. (4) Percussion kit
. (4) Cello
. (4) Double Basses

Shared Instrument Among High Schools with Grade 5/6 Wind Ensembles
. (1) English Horn

   

Images for above article.

 

 

 

 
Front Row: Jay DeMarcus of Rascal Flatts, CMA Board Member; Nashville Mayor Karl Dean; Nelson Andrews, Founder and Former Board Member, Nashville Alliance for Public Education (NAPE); Pam Garrett, Executive Director, NAPE; Carol Crittenden, Visual and Performing Arts Coordinator, Metro Nashville Public Schools (MNPS); Tammy Genovese, CMA Chief Operating Officer; Tony Conway, CMA Music Festival Executive Producer; and Clarence Spalding, President, CMA Board of Directors. Back Row: Randy Goodman, President-Elect, CMA Board of Directors; Steve Buchanan, CMA and NAPE Board Member; Dr. Pedro Garcia, MNPS Superintendent of Schools; and Mike Dungan, Chairman, CMA Board of Directors.
Photo: John Russell / CMA

 

Jay DeMarcus of Rascal Flatts is surrounded by students from Glenn Enhanced Option Elementary School at the "Keep the Music Playing" press conference in Nashville on Oct. 4, 2007.
Photo: John Russell / CMA

 

 

Issue Date: 10/9/2007  
Bill Lloyd Pulls the Strings at the Country Music Hall of Fame and Museum
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Bring up the idea of a day job with the average musician and you're likely to elicit a hostile stare. But, with his new gig at the Country Music Hall of Fame and Museum, Bill Lloyd may have found himself the perfect musician's 9-to-5.

The respected guitarist, songwriter and producer recently got the call to curate stringed instruments at the Museum, where his routine includes hands-on contact with more than 600 historically important guitars, mandolins, banjos, fiddles and other items.

Of course, that's just part of Lloyd's daily grind. He also oversees maintenance of these valuables, negotiates donations or loans for the collection and interacts with other divisions in coordinating the concept and content for exhibits. And he gets to talk shop with legendary session players in front of audiences gathered at the Ford Theater, on the first floor, for each installment of the Nashville Cats interview program where session players and sidemen are spotlighted in a 90-minute career retrospective using audio, video and live performance along with the live chat. Past guests included famed Man of Steel, Lloyd Green; harmonica master Charlie McCoy; the most recorded studio guitarist Harold Bradley; and the legendary Don Helms of The Drifting Cowboys.

Another important part of Lloyd's job, and one that he particularly enjoys, is to actually play the instruments.

"When an instrument that has been stored is taken out and played, it allows the wood to react to the air and the tension from the strings," Lloyd said. "You can hear the difference in sound between an instrument just taken out of hibernation, and one that has been exercised.

"For example, last September Ricky Skaggs spent hours awakening Bill Monroe's signature mandolin before playing it publicly during a ceremony marking the Loar's arrival in the Museum's collection. Playing any instrument periodically will keep it from atrophy."

The usual elements - qualifications, timing and luck - brought Lloyd onboard at the Museum. He'd been in the thick of the musical action since coming to Nashville in 1982, where his achievements include three RCA albums, a No. 1 hit, four CMA Awards nominations and a Grammy nomination with duo partner Radney Foster; a run in the '90s with Poco's Rusty Young, New Grass Revival's John Cowan and the Doobie Brothers' Pat Simmons as the Sky Kings; several solo CDs; lots of sessions; dozens of songwriter credits; and appearances with the Long Players, a group of studio aces who specialize in recreating classic rock/pop albums onstage and on disc.

So he wasn't exactly a well-kept secret when he came to the Museum's attention. Randy Goodman, President of Lyric Street Records, had just joined the Museum's Board of Officers and Trustees, where one of his first decisions was to arrange funding from his label's parent company, Walt Disney, for the position Lloyd would fill in November 2005. The position was funded in support of "All for the Hall," the Museum's first-ever non-bricks-and-mortar fundraising campaign.

Then, mere weeks after hanging out his shingle, Lloyd requested some time off.

His friends in the group Poco had called and asked him to fill in for guitarist Paul Cotton, who had to skip four dates in December due to illness. "You can imagine my feeling," Lloyd said, wincing at the memory. "But the folks here were gracious enough to let me go and play those shows."

In a strange way, though, this unexpected leave of absence only enhanced his stature. As Carolyn Tate, Senior Director of Museum Services, put it, "How cool was it to say, 'Gee, I would introduce you to our Stringed Instrument Curator, but he's out with Poco?' That's part of Bill's cachet."

Since returning from those shows, Lloyd has kept more regular hours and contributed significantly, beginning on one of his first days at work. Some instruments were being moved into position for the Museum's special exhibit on Ray Charles, which opened a space in the Country/rock section's permanent display. In a sort of Poco quid pro quo, he called Young, who responded by bringing one of his steel guitars down to the Museum.

"It just happened to be one that [pioneering steel guitarist and designer] Shot Jackson made for Rusty with the band's running horse logo," Lloyd said. "It also happened to be the last instrument Shot made before he passed on. And Rusty brought over a Nudie jacket too."

Though Lloyd does devote a good amount of time to tracking down historic instruments, many additions come unexpectedly, through a process you might call Country karma.

"It's almost magical," he said. "For example, I got a call from a woman whose grandfather was Paul Warmack of the Gully Jumpers, an early Opry act who were also on the very first recording session ever held in Nashville, somewhere around 1926 or '27. She donated two of his guitars, which also came with complete documentation: photographs, old strings, playbills. It was amazing, and it just came to us from out of the blue."

One of those guitars happened to be sitting nearby as we spoke, alongside several other treasures near the entry to Lloyd's workspace, on the second floor of the Museum: instruments played by Fiddlin' John Carson and his daughter Rosa Lee (aka Moonshine Kate); a Resonator guitar played by Riley Puckett; a Patsy Cline stage outfit on a mannequin; matching shirts worn by the Everly Brothers; some saddles that once belonged to Elvis Presley and Hank Snow; guitars from the Chet Atkins' estate; sneakers from the Willie Nelson line of footwear; and a cowbell whose pedigree was a little murkier.

"That cowbell," Lloyd concluded, after giving it some thought, "may have been worn by an actual cow."

Whether human or bovine, these instruments are played very seldom by anyone not on staff - and then by only the most highly regarded musicians. Even then, these performances happen exclusively within the Museum, not only due to liability issues but also because the simple act of taking them outside could inflict undue stress on the more delicate artifacts. Only instruments that need some repair are ever removed, to be worked on by approved local craftsmen at their shops.

Sometimes, though, Lloyd decides not to authorize this work, even if it's apparently needed. "It's case-by-case," Tate explained. "I talk about it with Bill, [Collections Curator at the Museum] Mick Buck, and other people here, based on whether by working on a damaged instrument we might actually be changing a bit of history. If you've got a beautiful, organic instrument, and it needs some attention that won't change its story, we'll do that. But with others, the dings and the rust are part of its character, and we might decide to leave them intact."

So, for example, Lloyd gave the green light to reattaching the bridge on Warmack's guitar, which had been loosened after decades of being pulled by strings that had never been removed. But there's no way anyone will fix that bullet hole someone shot into an Elvis guitar. And as long as Lloyd is shepherding this flock, everything, from Arkie the Arkansas Woodchopper's priceless Martin D-2 to Marty Robbins' piano, will remain as pristine as possible.

"Nobody gets to play 'Stairway to Heaven' on Bill Monroe's Loar mandolin," Lloyd insisted, just before Tate cut in . "Well, you could, Bill."

On the Web: www.countrymusichalloffame.com

   

Images for above article.

 

 
   
Bill Lloyd, Stringed Instrument Curator at the Country Music Hall of Fame and Museum.
Photo: John Russell / CMA

 

Bill Lloyd with a few of the stringed instruments he oversees at the Museum. (left) Waylon Jennings' Fender Telecaster; (middle) Chet Atkins' 1955 Gretsch; and (right) Lloyd cradles an ultra-rare 1931 Martin D-2 that belonged to Arkie the Arkansas Woodchopper from the WLS Barndance radio program.
Photo: John Russell / CMA

 

   

NEW ARTIST SPOTLIGHT: Carmen Rasmusen
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Canadian-born Carmen Rasmusen has pulled off what some artists twice her age have yet to achieve. She doesn't just stir memories among those who watched her rise at age 17 to the finals of "American Idol" in 2003 - or, for that matter, those who caught her first stage appearances when she was just 4 years old. More than that, Rasmusen establishes herself as a vocal stylist with a sound so distinctive that it can be recognized almost instantly.
 
That sound takes full shape on the title track and first single of her debut album, Nothin' Like the Summer. Over a reverie of mandolin, acoustic guitar and low-key drums, Rasmusen offers a honeyed, smile-warmed sound that feels innocent and romantic, young and nostalgic, all at once. These same qualities permeate the images painted by the music and lyric, which she co-wrote with Jason Deere and Victoria Shaw, and flow through the album, like a cool stream through pastoral fields.

Of course, that stream picks up a little momentum now and then, as on the rousing "Shine" and playfully teasing "Spend That Money." It even churns into a stretch of rapids on the hard-hitting, backbeat-driven "You Scare Me to Death," another co-write with Deere - but that only makes the Summer landscape more varied and compelling.

A member of the Church of Jesus Christ of Latter-Day Saints, Rasmusen lives now in Bountiful, Utah, with her husband Brad Herbert, son of the state's Lieutenant Governor.

IN HER OWN WORDS

Who is your musical hero?
"Carole King."

Who is your dream duet partner?
"Garth Brooks."

What book is on your nightstand?
"Jan Karon's Mitford Series."

What do you sing in the shower?
"The national anthem."

What's your pet peeve?
"People who wipe their hands on their pants."

What song do you wish you had written?
"'From This Moment On,' by Shania Twain and Mutt Lange."

When they look back on your life in 50 years, what do you hope
people will say about you?

"She stayed true to who she was."

On the Web: www.carmenrasmusen.com; www.myspace.com/carmenrasmusenonline

   

Images for above article.

 
     
Carmen Rasmusen; Lofton Creek Records; Photographer: Russ Harrington
Photo: See Caption
     

NEW ARTIST SPOTLIGHT: Katie Armiger
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

There's a history in Country Music of young singers with big voices making high-impact debuts. Some of them linger and grow through the years; others fade as the novelty of youth subsides. But all indications are that Katie Armiger is about to make a major splash and then keep making waves for years to come.

Just 16 years old, Armiger made herself heard two years ago by winning the title "Houston's Best Country Singer" in a competition sponsored by KKBQ/Houston. Her prize included an opportunity to cut a two-song demo in Nashville, with Mark Oliverius at the controls. He heard something exceptional in Armiger's throaty, heartfelt delivery.

That's all it took to expand his plans into producing her first full-length album.

Katie Armiger bristles with strong material, including seven tunes that she co-wrote. Typical is the slammin', medium-tempo "Hard Road." With its catchy chorus and swaggering groove, this track flaunts her writing chops - but her singing identifies her instincts for performance. She tackles the reflective lyrics with confidence yet holds just enough back to contrast with the guitar's aggressive riffs.

After pulling straight A's at Austin High School in Sugar Land, near Houston, Armiger has committed herself to a long radio tour as the first step toward chasing her dream. Katie Armiger has given her good position to begin that race at full-speed.

IN HER OWN WORDS:

Who is your dream duet partner?
"Tim McGraw. He has such a great gift for picking good songs."

Who is your musical hero?
"Martina McBride. She is an amazing singer with such a powerful voice."

What CD is on your stereo?
"Dierks Bentley's Long Trip Alone."

If you wrote an autobiography, what would the title be?
"Nobody's Perfect."

What is your pet peeve?
"Waking up early. I'm not a morning person."

What moment in your life would you relive if you could?
"The last time I saw my grandfather. He was my biggest fan and I miss him very much."

On the Web: www.katiearmiger.net

   

Images for above article.

 
     
Katie Armiger; Cold River Records; Photographer: Angela O'Heeron
Photo: See Caption

 

 

 

 
Issue Date: 10/2/2007  
 
LeAnn Rimes: Living the 'Family' Way
By Deborah Evans Price

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Every artist has an album they view as a landmark, representing a major progression that will change public perception and even take their career to a new level. LeAnn Rimes sees her new Curb Records release, Family, as that album.

"It's exciting for me because I do feel I've become this artist and not just this voice," said Rimes, who, for the first time, co-wrote every track. "I think that people have known me for my voice, and I accept that and I appreciate that. But there's this whole other side of me that's always been there."

She's not alone in this opinion. Curb Records Chairman Mike Curb insisted, "This album shows LeAnn's evolution as a songwriter as well as an artist, but it also show's LeAnn's ability to relate to her family and her life in a very mature way. This is even more amazing when you consider that when we first signed LeAnn as a teenager she already had the ability to sing and interpret as an adult, but now she is doing it from the perspective of a woman sharing her own experiences in a very direct manner."

Though she's been writing songs for a long time, Rimes said that she never felt as confident in her songwriting as she did her singing. That changed with this album.

"I've been listening to Bright Eyes and a lot of Bob Dylan," she said. "And I listened to Tracy Chapman's last record [WhereYou Live]. Those records have kind of a rootsy sound and very honest writing. I thought, 'I can do that and I want to do it.' We set out to write commercial choruses that were hooky with verses that said something and were honest."

Rimes wanted these songs to express her feelings and yet speak universally enough that others would see themselves in their lyrics. "I wanted to write songs that said something about me and about my ideas and views," said Rimes, who turned 25 on Aug. 28. "And I wanted to write so people would be able to find themselves in the songs and hear their stories, so it's part me and part them.

"I think that's why I wanted to call the record Family," she continued, "because I feel they've grown up with me, I've grown up with them and this whole world kind of became my family in a way. Everybody has known about every part of my life, including all the trials and tribulations I've gone through personally with my family. I felt like it was time to share those deep, honest thoughts with everyone."

Few artists in any genre have grown up as much in the public eye as Rimes. The Jackson, Miss., native won her first talent contest at age 5. Her family moved from Mississippi to Texas when she was 6, and there the young artist's career flourished. She sang the national anthem at Dallas Cowboys games and became a regular on "Johnnie High's Country Music Revue," held weekly at the time in Fort Worth. At age 7, she cut her first album. By the time she was 11, she'd recorded her sophomore album at Norman Petty's studio in Clovis, N.M.

Her career hit high gear with the song "Blue," which inspired Mike Curb to sign the young artist to a record deal. "Blue" became a monster hit, and at age 14, Rimes became the youngest artist to win a Grammy - two of them, actually, as Best New Artist and for Best Female Country Vocal Performance. She also picked up the CMA Horizon Award in 1997.

Since then, Rimes has sold more than 37 million albums and scored numerous hit singles, among them "One Way Ticket," "I Need You," "Nothin' 'bout Love Makes Sense," "Probably Wouldn't Be This Way" and "How Do I Live," which spent a record-setting 69 weeks on the Billboard Hot 100.

In addition to achieving both pop and Country success in the United States, Rimes became a successful pop act in Europe, where she released Whatever We Wanna, for which she developed another side of her creativity by co-writing 10 out of 15 tracks.

"We weren't finding songs that fit me," she recalled. "One of the record people asked if I would be willing to write, and I said, 'Yes, I can write.'"

Rimes conceded that people are sometimes skeptical of artists who turn to songwriting. "People look at an artist and think, 'Well, how much do they really lend to this record?'" she said. "We get a bad rap because a lot of artists do just walk into a room and sit there. I think a lot of songwriters, when I first started writing, expected that to happen and were shocked by the fact that I really can write. I did have my own ideas and opinions and was in there to collaborate. It was scary at first, but I felt like I had a lot to say. I just don't want to write for myself. I want to establish myself as a great songwriter and have others recording my songs."

In fact, Rimes observed, Faith Hill and Jamie O'Neal have been considering some of her compositions for upcoming projects. "It's such a weird thing because I'm usually on the other side as an artist and not the songwriter," said Rimes, who added that she now has a different take on artists placing songs on hold for a long period of time: "I'm never going to do that to a writer again."

Despite these developments, Rimes doesn't plan to abandon Music Row's writing community. She actually did listen to songs submitted for Family before deciding to concentrate exclusively on her own work.

"It wasn't that they weren't good songs," she explained. "It was just they weren't telling my story. I love listening to songs - and who's to say? On the next album, I may only write half of it. I'm never, ever going to turn down a good song, that's for sure."

Produced by Dann Huff and scheduled for release on Oct. 9, Family covers a lot of territory, from the lighthearted first single "Nothin' Better to Do" to the poignant "What I Cannot Change." There are two duets in the mix as well, with Louisiana singer/songwriter Marc Broussard on "Nothing Wrong" as well as a steamy performance with Jon Bon Jovi on "Till We Ain't Strangers Anymore," which appears here as a bonus track as well as on Bon Jovi's new album Lost Highway.

The veteran rocker was impressed with the vocal firepower Rimes brought to their encounter. "I wanted somebody with a strong voice who could pull it off dramatically because I knew it was a dramatic lyric," he said. "I didn't want a young girl that couldn't provide the sexuality in the lyric. She has a seasoned voice. She may be a young woman, but she's been around for a long time and she knows how to translate a lyric."

For an artist who attained success so early in life, Rimes has remained remarkably grounded. In contrast to young celebrities who generate tabloid headlines for their erratic behavior, she has been married happily for five years to Dean Sheremet. The two of them wrote together for Family, an experience that is trying for some writing partners but felt perfectly natural in this case.

"Writing is a very intimate experience," Rimes said, "so I have to be comfortable enough with my co-writers to let down my walls. When writing with Dean, there is an immense sense of security and familiarity. We complement each other very well, each picking up where the other leaves off. We're constantly pushing the other further. It's nice to have a relationship of complete honesty."

There's another secret to the stability of their marriage: her stubbornness. "I knew people were just waiting for me to self-destruct because that's what happens," Rimes said. "And I have that competitive edge to me that I wanted to prove people wrong. Fame and fortune really do strip a lot of things away from you for a little while. It did me. There's a sense of reality that's completely stripped from you, and I've clawed my way back from that. I wanted to get that back. I think it's because I wanted it so badly, I have a good balance now. It's nice to be able to look back and know that I've accomplished so much and be thankful for it, but I know there's so much more left to accomplish. I feel like I'm just beginning with this record."

On the Web: www.leannrimesworld.com

   

Images for above article.


 


 

 

 

LeAnn Rimes; Curb Records; Photographer: David McClister
 

LeAnn Rimes; Curb Records; Photographer: David McClister
 

 

 

Bon Jovi Puts a Jersey Spin on Country
By Deborah Evans Price

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Never etched in stone, the boundaries between genres of popular music seem more like lines in sand. Country artists are scoring airplay at AC stations, and veteran rockers are breaking into Country radio.

So it is with the New Jersey stadium rockers Bon Jovi. Buoyed by the chart-topping success of "Who Says You Can't Go Home," the duet he recorded with Sugarland's Jennifer Nettles, frontman/songwriter Jon Bon Jovi has led his group straight into the heart of Nashville on their new album, Lost Highway.

"It wasn't a difficult leap," admitted Jon Bon Jovi. "We had to just make sure we weren't patronizing the true Country format. We realized what we were doing was making a Bon Jovi record influenced by Nashville."

That influence permeates Lost Highway. Half of the album is produced by Grammy winner John Shanks, whose credits reflect his own creative crossover from sessions with Celine Dion, Melissa Etheridge and Alanis Morissette, to SHeDAISY and The Wreckers. The other half features the handiwork of Nashville's Dann Huff, whose credits include Rascal Flatts' quadruple-Platinum Me and My Gang and Carrie Underwood's sextuple-Platinum Some Hearts.

As for the material, Music Row hit-crafters Brett James, Hillary Lindsey and Gordie Sampson all co-wrote with Bon Jovi, and Lindsey sang as well on one track, "Seat Next to You." Other guests include LeAnn Rimes, who duets on the sultry "Till We Ain't Strangers Anymore," which will also be on her forthcoming album Family, and Big & Rich, who join in on "We Got It Going On."

That song, which ESPN uses as the theme for its Arena Football League telecasts, was conceived at the home of Luke Lewis, Chairman of Universal Music Group Nashville. "Kenny [Big Kenny Alphin of Big & Rich] and I started going back and forth, just goofing around with a chorus, standing there with a drink in our hands in Luke's backyard," Bon Jovi recalled.

The next morning, they got back together to finish the song. "He called John Rich. I called [Bon Jovi guitarist] Richie Sambora, and the four of us sat in a room and knocked out the rest of it," Bon Jovi continued. "It was that easy and that  much fun. When you have four capable songwriters in a room, it's not a chore."

"Those guys are real pros," Huff added. "They show up to work and work they do. Jon is like the taskmaster and Richie goes with the moment. It's all spontaneity with him. They balance each other out tremendously well, and the other guys" - Bon Jovi keyboardist David Bryan and drummer Tico Torres - "are pros too."

"I have really enjoyed getting to know Jon and Richie, two of the coolest, most down-to-earth, stand-up dudes I've met in a long time," said Big Kenny. "It's incredible how music always comes back around. Now it seems like our forms of music are converging into what makes up the fresh new Country sound today. It is simply popular music at its best."

Huff agrees. "It's a very ballsy move to try something different," the producer noted. "It's reinventing at a point when you really don't need to reinvent. That takes a lot of courage and integrity. But you can't draw a boundary around the way people are going to tell stories about their lives and loves and the things they write about. I can't tell you that 'Make a Memory' [the first single from Lost Highway] is a Country song. I can't tell you it's a pop song. But I do think it's an emotional song that people are digging. It's just about music that touches people. So I hope the lines get blurred."

Fans and programmers seem to have come around to this point of view. When "Who Says You Can't Go Home" went to No. 1 on Billboard's Hot Country Songs, Bon Jovi became the first non-Country act to top that chart since 1977, when Tom Jones released "Say You'll Stay Until Tomorrow." That acceptance prompted the band to give Country radio another shot.

"Writing a great story with a big Bon Jovi chorus, that's what we've always done," the lead singer insisted. "A lot of these new Country artists are probably influenced by that part of our sound, so it's not a big stretch."

There was another reason for Bon Jovi's cultivation of a more Country-flavored sound. "I didn't like what I heard on the Top 40," he explained. "I had nothing in common with any of that stuff. But when I listened to Keith Urban, Gary Allan and Big & Rich, I heard the same stories I'd been writing for 25 years. I thought, 'I get it: Write a record, go back to your storytelling days and say something about yourself.'"

Jon Bon Jovi has long been a fan of Nashville, as a musical way of life as well as a city. Certainly his awareness of Country Music dates back to his childhood in Perth Amboy, N.J., when his parents included albums by Gene Autry and Patsy Cline on their household playlist. By the time of his first trip to Music City in 1991, to visit his friend Billy Falcon, he was able to join the songwriter crowd that hung out at Third Coast, a congenial watering hole near Music Row, and feel at home.

"I remember my earliest memories of coming down for a week at a time and saying, 'Oh, my goodness, I've tapped into something brilliant,'" he said. "I'm not the first one to come into this town, hang out here and soak up the atmosphere. That's the reason they call it Music City. I'm not pandering when I say I have found 99 percent of the people here have been so gracious and warm. There's such a real sense of community that I never found when I visit Los Angeles and places like that."

The Nashville community holds the legendary rocker in similar high esteem. Lindsey admitted to being nervous when she got together with him for their first co-writing session, but he put her quickly at ease. "He was so sweet and so down to earth," she said. "He's one of the nicest guys and obviously extremely talented. He knows what he wants and what he wants to sing about. And he's a brilliant singer."

Lindsey believes that Bon Jovi is destined to succeed in the Country format. "He's just honest in his music, and that's what Country Music is, she said. "Of course, he rocks a little bit, but Country Music needs that. So I think it's good."
Huff has always heard Country elements in Bon Jovi's work. "'Blaze of Glory,' from the Young Guns soundtrack, and 'Wanted Dead or Alive,' those were almost Hank Williams Jr.-type songs," he observed.

As he moved more toward this direction, Bon Jovi encountered only support from his longtime label.

"I went to the New York label [executives at Mercury Records] and said, 'I want to go to Nashville. I want to make a record. I don't know what that record is going to be, but I'm going down there and doing this,'" he said. "And God bless them! My label, which I've been signed to since 1983, has never questioned what I've wanted to do. Whatever I decided to do over the years, they've always said, 'OK, we get it.'"

Bon Jovi isn't sure how his Country efforts will be accepted, but he hopes his music will at least be received in the spirit it was intended to convey.

"There are those who said, 'The first time was cute - now go away,'" he said, citing his initial Country success with "Who Says You Can't Go Home." "Then
there are those who are going to realize that a lot of artists have been influenced by our records and audiences who have listened to our records for the past 25 years. I've been coming to Nashville for so many years. I've gotten my songs covered by some honest-to-God Country artists, dating back to Chris LeDoux [with whom Bon Jovi sang a guest duet on "Bang a Drum," from One Road Man in 1998]. So it's not like I just showed up on the doorstep."

On the Web: www.bonjovi.com

   

Images for above article.


 


 

 

 

Bon Jovi; "Lost Highway"; Mercury Nashville
 

Bon Jovi (Tico Torres, Jon Bon Jovi, Richie Sambora, David Bryan); Mercury Nashville; Photographer: James Miinchin
 

 

 

NEW ARTIST SPOTLIGHT: Lance Miller
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

In some ways, not winning "Nashville Star" may have been a good thing for Lance Miller. Born in Fairfield, Ill., he began building his voice at age 4, when he sang "That's the Way Love Goes" at a wedding reception. By 18, he was cutting demos for local artists in Central City, Ky., a discipline that helped him find a foothold in Nashville's competitive session vocal community.

For a decade Miller established himself in the craft of finding the essence of someone else's song and bringing it to life. At the same time, he cultivated his own sound, drawing from Merle Haggard's sweet but rugged style, some of Waylon Jennings' swagger and doses of Alan Jackson, Tim McGraw and other modern masters for seasoning.

This was enough to lift Miller to the finals of "Nashville Star" in 2004. Something was missing, though; by his own admission, he had focused so much on tailoring his vocals to the needs of clients that he had neglected his own unique qualities. And so, after getting back in touch with what he wanted to say as a singer and writer, Miller returned to deliver a knockout showcase at Nashville's Exit/In, which led to a deal with Warner Bros. Records and a commitment from Brad and Brett of The Warren Brothers to make their debuts as producers with his forthcoming album.

The result, Back in the New School, is a dynamic blend of old and new, featuring six songs written or co-written by Miller. The barroom testimony of "George Jones and Jesus," down-home humor of first single "The Beach" and homespun romanticism of "Bacon Frying" put Miller in the spotlight again, this time with all of Country Music as his stage. And speaking of a big stage, hit the stage this summer as the opening act on the Faith Hill and Tim McGraw "Soul2Soul Tour."

IN HIS OWN WORDS:

Who is your musical hero?
"Dad."

Which song would you like to cover?
"'You Were Always on My Mind.'"

What moment in your life would you relive if you could?
"Any moment with my Grandma and Grandpa Miller."

What song do you wish you had written?
"Alan Jackson's 'Remember When.'"

Do you have a lucky charm?
"When my daughter came into this world, it seems she brought a lot of
great blessings in my life. She is obviously the main one."

Who is your dream duet partner?
"I would like to sing harmony with my dad on a record one of these days."

If you wrote an autobiography, what would the title be?
"I'm Glad I Showed Up."

When they look back on your life in 50 years, what do you hope people say about you?
"I guess the obvious things would be that he was a good guy, a great Dad and a man of God. When I'm working in the studio, I always catch myself asking, 'What would Buck or Merle do here with this song or production?' It would be cool if some kid is working in the studio and asks himself, 'I wonder what ole' Lance Miller would do with this thing?'"

On the Web: www.lancemiller.com

 

 

Images for above article.


 

 

 

 

Lance Miller; Warner Bros. Nashville; Photographer: Russ Harrington
 

 

 

 

 

Yankee Candle Turns Up The Heat at the 2007 CMA Awards With This Year's Hottest Country Music Stars

SOUTH DEERFIELD, Mass., Oct. 1  The 2007 Country Music Association Awards is heating up this year! As the official candle of "The 41st Annual CMA Awards," Yankee Candle will burn bright as the hottest Country Music stars hit the stage.
 

"Yankee Candle is thrilled to once again be named the official candle of the 2007 CMA Awards", said Rick Ruffolo, Senior Vice President of Brand, Marketing, and Innovation for Yankee Candle. "Each of us at Yankee Candle takes great pride in supporting the stars of Country Music and their dedicated fans."
 

The CMA Awards, recognized as "Country Music's Biggest Night,(TM)" are a perfect fit for the #1 name in the candle business - Yankee Candle. "Yankee Candle is America's first choice in candles ... just like Country Music is America's first choice in music," commented Ruffolo. "Both are distinctly American experiences."
 

Yankee Candle offers the world's largest variety of candle and home fragrance scents with classic fragrances such as Clean Cotton(R), Country Linen(R), Buttercream(R), Home Sweet Home(R), Harvest(R), and Macintosh(R), as well as Holiday favorites including Christmas Cookie(R), Mistletoe(R), and Home for the Holidays(R). These classics are treasured American institutions much like the rich traditions of Country Music.
 

And just like Carrie Underwood, Taylor Swift, and Little Big Town, Yankee Candle's newest stars such as Sun & Sand(R), Tahitian Tiare Flower(R), Mango Peach Salsa, and Creme Brulee have become instant hits with fans across the country.
 

"We are delighted to have Yankee Candle return as a partner with the CMA Awards again this year," said Paula Milton, CMA Director of Business Development. "The CMA Awards are our industry's homecoming, and Yankee Candle will help set a magical mood for the event."
 

"The 41st Annual CMA Awards" will air on Wednesday, Nov. 7 (8:00-11:00 PM/EST) on the ABC Television Network live from the Sommet Center in Nashville, Tenn. Artists confirmed as performers thus far include: Brooks & Dunn, Kenny Chesney, Eagles, Martina McBride, Brad Paisley, Rascal Flatts, George Strait, Sugarland, Josh Turner, Carrie Underwood and Keith Urban, with more artists to be announced soon.
 

About The Yankee Candle Company, Inc.
 

The Yankee Candle Company, Inc. is the leading designer, manufacturer, wholesaler and retailer of premium scented candles, based on sales, in the giftware industry. Yankee has a 37-year history of offering distinctive products and marketing them as affordable luxuries and consumable gifts. The Company sells its products through a North American wholesale customer network of approximately 16,300 store locations, a growing base of Company owned and operated retail stores (434 located in 43 states as of June 30, 2007), direct mail catalogs, its Internet websites (www.yankeecandle.com, www.illuminations.com and www.aromanaturals.com), international distributors and to a European wholesale customer network of approximately 2,750 store locations (through its distribution center located in Bristol, England).
 

About the Country Music Association and the CMA Awards
 

The CMA Awards nominees and winners are determined by the 6,000 industry professional members of CMA, which was the first trade organization formed to promote an individual genre of music in 1958. The first "CMA Awards Banquet and Show" was held in 1967. The following year, the CMA Awards were broadcast on NBC Television for the first time - making it the longest running, annual music awards program on network television. The show aired on NBC through 1971, and on the CBS Television Network from 1972 through 2005, before moving to the ABC Television Network beginning in 2006.
 

In 2006, "The 40th Annual CMA Awards" ranked in the Top 5 with the Academy Awards, the Golden Globes, Grammy Awards and Emmy's during the 2006-2007 season for awards shows among total viewers. With "The 40th Annual CMA Awards," ABC won Monday evening in both total viewers (16.0 million) and adults 18-49 (5.4/13). According to Nielsen, research estimates that more than 30 million viewers watched all or part of the ceremony.
 

Source: The Yankee Candle Company, Inc.


 

Web site: http://www.yankeecandle.com/
 

 

Issue Date: 9/25/2007  
The Wreckers: No Longer Standing Still
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

The studios of CMT seemed like an island of tranquility on this late afternoon in Nashville. Here, with lights down low, with exposed brick walls and Oriental carpet encouraging an intimate coffeehouse ambience, The Wreckers - Michelle Branch and Jessica Harp perched on stools and harmonized, for maybe the thousandth time, on the chorus of "My, Oh My."

The crew, working for CMT's "Studio 330 Sessions" program featured on www.cmt.com, captured the weave of their voices, the smiles that flashed between them, the crisp rhythm from Branch's mandolin as it locked into husband Teddy Landau's bass line. The feel was fresh, as if they'd just gotten to know the tune yesterday. And as the last notes rang into silence and the cameras dimmed the picture to black, Branch eased slowly onto the floor and stomped her tingling right foot, muttering, "Come on! Wake up!"

That was more or less the message that Branch and Harp delivered to the Country Music industry in May 2006 when, as The Wreckers, they unleashed their debut, Stand Still, Look Pretty. Its first single, "Leave the Pieces," topped the R&R and Billboard Country charts; album sales quickly shot past Gold level and are now nearly Platinum. In the months to come they would join the Rascal Flatts tour, make innumerable TV appearances, earn CMA Awards and Grammy nominations as Duo of the Year and open through the summer of '07 for Keith Urban.

None of this seemed possible when they'd decided, back in 2004, to put the act together - not just because the odds are long for any performers who strive for success. Their situation was more complicated than that: Harp had always hoped to make herself heard as an artist. And Branch already had, as a precocious singer/songwriter whose first album, The Spirit Room, recorded when she was just 16, established her as a bona fide pop/rock phenomenon.

The question was whether this would prove a liability in the eyes of audiences who have seen more than one rocker try to cross that divide toward Country credibility. Yet this, they insist, wasn't on their minds when they decided to combine their talents.

"It's hard to get across how few expectations we had," Branch said, moments after wrapping up the CMT taping. "Sure, we knew that people from Country radio and Country Music might judge us a certain way because of ." and here she made finger-wiggle air quotes . "'my sordid past'. Truthfully, we would have been happy just to have someone other than our parents buy the record. But to have everybody open their arms and welcome us the way they have has been mind-blowing for both of us."

Harp's challenge was different; she'd always been a Country singer at heart. "The most gratifying thing is that I've been able to stick to my gut, listen to my initial feelings and sing this music with my best friend," she said. "In fact, I could have signed a deal to make a pop record, but that's never what I really wanted."

The paradox is that neither girl defined The Wreckers by genre; their approach was to do the music they wanted to do and let others worry about what to call it. That applied as well to all the participants on this album, including John Leventhal, who produced all but three of its tracks. From his seat behind the console, the Stand Still, Look Pretty sessions weren't that different than Branch's Platinum-selling Hotel Paper, which he'd produced during her rock/pop incarnation.

"It was sort of seamless," Leventhal explained. "Both albums felt much the same to me. The new one did have more of a roots element because they wanted to bring in fiddles, mandolins, dobros and all that stuff. But even with that language, we never thought in terms of categories, so the music just became what it was."

Maverick Records, not a haven for Country acts, was skeptical about this approach at first. Now, with the impact The Wreckers have made, and their shift from Maverick to Warner Bros. Nashville, the coast seems clear for their next album. Of course, the price of creative freedom is paid often in the currency of expectations, which means that even with no one, in Branch's words, "breathing down our backs," plenty of people will be anticipating another blockbuster.

They'd like the studio sessions to be in Nashville, Harp's home for the past three years and, more recently, Branch's and Landau's. They moved here late last year, trading the five bedroom home they'd bought a year before in Calabasas, Calif., near Malibu, for a place far closer to Music Row.

"I didn't want to raise our daughter [Owen Isabelle, born in August 2003] in Los Angeles," she said. "My husband is an L.A. native and he wanted out too. The pace of life is so different here: We get to be home on average Monday through Wednesday or Thursday and then tour Thursday through Sunday, so it's a good balance of playing shows on weekends and taking out the trash at the beginning of the week. It's more about my life and less about my work, which is such a joy."

Leventhal remains the first choice for producer. Though he works mainly out of New York, he is no stranger to Nashville. According to Harp, his touch, transplanted to this community, is key to making the magic happen once more.

"My favorite tracks on the first album were his," she said. "Not only did we love them, but I think we made so much headway in this town because they're a little different from what you hear on every other record."

"Well, I can't really take credit for their commercial accomplishments, because I didn't do the singles," Leventhal said, referring to John Shanks' work on "Leave the Pieces" and Paul Worley's on "My, Oh My." "I respect producers who can do that. I'm not slighting commercial music at all; I like having hits as much as the next person. But that's not my strength. My strength is, 'How can we make this emotionally compelling and artistically substantial?' I have a feeling that's not what makes the girls tick anyway. They're really creative, and I would hate to choke that off right at the beginning and go, 'Hey, we need four more hits.'"

"Country Music is one of the last artist-friendly formats; it still revolves around making music," Branch observed. "People were much more guarded and competitive in pop radio, where I came from. The other day, for example, we walked into this studio to do liners, and there's Little Big Town, there's Sugarland, there's Miranda Lambert, and we've built friendships with these artists. I never had that in pop music."

"For Country artists who do well at the beginning of their career, the fans stick with them through the years," Harp, who recently got engaged to bandmate Jason Mowery, added. "Look at George Strait and Reba McEntire: not many people outside of Country Music have careers like theirs. That loyalty is so amazing. That kind of artist/fan relationship has always appealed to me. I want people to know who I am. I'm not this fake, glamorous star. I'm just me . a big dork."

"That works for both of us," Branch chimed in, collapsing with her friend in the kind of laughter one expects on the rise toward another wild ride including a new album scheduled for release Nov. 13.

On the Web: www.thewreckers.com

   

Images for above article.

 

 
   
The Wreckers; Warner Bros. Records; Photographer: Frank Ockenfels
Photo: See Caption

 

The Wreckers; Warner Bros. Records; Photographer: Nick Spanos
Photo: See Caption

 

   

NEW ARTIST SPOTLIGHT: Kendel Carson
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Kendel Carson, 22, began taking classical violin lessons at 3, started playing fiddle music at 9 and divided her childhood between those two worlds. Though she rose to perform as a soloist with the Victoria Symphony and had a steady gig with the National Youth Orchestra of Canada, she felt drawn toward Celtic, folk and Country fiddle, blended in combinations unique to the traditions of her British Columbia home.

While still in her teens, Carson plunged into a life of touring, on her own, with her brother Tyler in a band called Kid Carson and as a member of The Paperboys and Outlaw Social. During a show in 2004, at the Canmore Folk Music Festival in Alberta, she caught Chip Taylor's ear. The veteran songwriter and producer acted quickly, rushed her into his New York studio with a team of session veterans and emerged with Rearview Mirror Tears.

Issued on Taylor's new Train Wreck imprint, this exceptional debut pulls from the varied streams of influence that feed Carson's sound, from accordionist Seth Farber's seafaring flavors on "Ribbons & Bows" and "Gold in the Hills (of Saltery Bay)" to the raucous sing-along energy and irresistible hook of the single, "I Like Trucks." But the focus stays on Carson: Her singing is understated, with a sly humor that finds the irony woven into the lyric of "Especially for a Girl." Her playing is similarly mature, dedicated more to enhancing the tune or caressing a simple melody, as on "Ain't That a Sun," than dazzling fans with her virtuosity.

The images reflected in Rearview Mirror Tears are larger than one would expect from an artist so young. Pull over and let her pass: Kendel Carson is headed for the fast lane.

IN HER OWN WORDS:

What CD is on your stereo?

"I'll give you a couple from my current iPod playlist: Paulo Nutini's These Streets; The Bird and the Bee; Lucinda Williams' Live @ the Fillmore; Gotan Project; Dustin Bentall's Streets with No Lights."

What books are on your nightstand?

"Harry Potter and the Half-Blood Prince and Teach Yourself to Speak Danish."

Do you have a lucky charm?

"I always wear a bone necklace from New Zealand when I'm traveling, especially over water. It's shaped like a surfboard, but it's cooler than whatever you're picturing in your head, I swear."

What song do you wish you had written?

"'Fisherman's Blues' by The Waterboys."

Who is your dream duet partner?

"Today it'd be Ben Gibbard."

What moment in your life would you relive if you could?

"A sunny day I spent in Fredericia, Denmark while on tour in June 2005.  It was just one of those magical perfect moments - lying by the ocean, listening to music, talking to my best friend and having no desire to be anywhere else but there.  Totally calming."

Which mode of transportation do you prefer - planes, trains or automobiles?

"I like trucks (just check out track 2 on my album!) . honestly though, it doesn't matter too much to me, but I mostly prefer to drive.  I might change my mind if I flew first class, though."

When they look back on your life in 50 years, what do you hope people say about you?

"Damn that kid could play the fiddle!"

On the Web: www.myspace.com/kendelcarson

   

Images for above article.

 
     
Kendel Carson; Train Wreck Records; Photographer: Wyatt McSpadden
Photo: See Caption

 

     

CMA Songwriters Series Success Continues
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Few albums expressed less enthusiasm for the Big Apple than a 1971 release from Buck Owens: I Wouldn't Live in New York City (If They Gave Me the Whole Dang Town). If Owens were here to perform at a CMA Songwriters Series show at Joe's Pub, perhaps he'd change his mind.

Situated in Manhattan's East Village, Joe's Pub is one part of a complex of venues known as the Public Theater. The interior marries sleek modern design, comfort and intimate access to the entertainment with gourmet Italian food.

Given that this venue has hosted performances by Elvis Costello, U2 and The Who's Pete Townshend, the consistently sold-out CMA Songwriters Series shows say a lot about the increasing presence of Country Music across the demographic board.

"The CMA Songwriters Series events are always packed because our audiences know how good they are," attested Kevin Abbott, GM, Joe's Pub. "We've already sold more than 50 seats to the Nov. 29 show - and the artists haven't even been announced."

Lines snaked out the door onto Lafayette Street on May 31, a steamy evening that marked another summit of Country songwriting giants for the CMA Songwriters Series. On the bill were Tony Arata ("The Dance," Garth Brooks; "Here I Am," Patty Loveless); Fred Knobloch ("If My Heart Had Wings," Faith Hill; "Meanwhile," George Strait); and Thom Schuyler ("16th Avenue," Lacey J. Dalton; "Love Will Turn You Around," Kenny Rogers), with instrumental sweetening added by Nashville harmonica virtuoso Jelly Roll Johnson.

"CMA is thrilled with the success that the 'Songwriters Series' has had in New York City throughout the past two years and it only continues to get better with each show," said CMA COO Tammy Genovese. "Country Music has a huge fan base in New York and we want to continue to offer those fans unique opportunities to see truly talented singer/songwriters in these shows."

CMA Songwriters Series at Joe's Pub was started as part of the Country Takes NYC events surrounding the 2005 CMA Awards in New York. Most of the shows this year follow a theme; this one, for example, marked the 25th anniversary of Nashville's Bluebird Café.

The March 29 gathering was dedicated to "The Men of Country Music," with Keith Anderson ("Pickin' Wildflowers," Anderson; "Beer Run [B Double E Double Are You In?]'" Garth Brooks and George Jones); Bob DiPiero ("Blue Clear Sky," George Strait; "You Can't Take the Honky Tonk Out of the Girl," Brooks & Dunn); Tony Mullins ("Me and My Gang," Rascal Flatts; "How Forever Feels," Kenny Chesney); Jeffrey Steele ("What Hurts the Most," Rascal Flatts; "My Town," Montgomery Gentry); and Craig Wiseman ("Believe," Brooks & Dunn; "The Good Stuff," Kenny Chesney).

Though there was no theme for the July 18 show that took place during CMA Board meetings, it did share one important trait with every CMA event at Joe's Pub; It was all about great songs, created by some of the best writers in the business. Participants included Kix Brooks of Brooks & Dunn ("Red Dirt Road," and "Only in America" recorded by Brooks & Dunn); DiPiero ("Take Me As I Am," Faith Hill; "Cowboys Like Us," George Strait); Brett James ("Blessed," Martina McBride; "Jesus, Take the Wheel," Carrie Underwood); Tim Nichols ("Girls Lie Too," Terri Clark; "Live Like You Were Dying," Tim McGraw); and Victoria Shaw ("The River," Garth Brooks; "I Love the Way You Love Me," John Michael Montgomery).

The cream of Nashville's creative community has found a solid foothold at Joe's Pub. But its horizons have expanded with two milestone events, one recently completed and the other just around the corner. On Sept. 20, the CMA Songwriters Series moved uptown and outdoors to the Delacorte Theater, longtime home base for "Shakespeare in the Park" productions. The lineup included Bob DiPiero ("Blue Clear Sky," George Strait; "You Can't Take the Honky Tonk Out of the Girl," Brooks & Dunn), Gretchen Peters ("You Don't Even Know Who I Am," Patty Loveless; "Let That Pony Run," Pam Tillis), Rivers Rutherford ("Ain't Nothin' Bout You" Brooks & Dunn; "Real Good Man," Tim McGraw), and Victoria Shaw ("The River," Garth Brooks; "I Love The Way You Love Me," John Michael Montgomery).

And on Oct. 4, at 6:30 and 9:30 PM/ET, a special "Women of Country Music" theme heralds the return of the CMA Songwriters Series to Joe's Pub. Participants will include Matraca Berg ("Strawberry Wine," Deana Carter; "Everybody Knows," Trisha Yearwood), Sarah Buxton ("Stupid Boy," Keith Urban; "That Kind of Day," Buxton), Carolyn Dawn Johnson ("Single White Female," Chely Wright; "Complicated," Johnson) and Gretchen Peters ("Independence Day," Martina McBride; "The Secret of Life," Faith Hill).

Anticipation seems to run even higher than usual for this particular gig. Feelings range from pride ("I'm proud of the legacy of women in Country Music, and it's great to be able to celebrate that" - Peters) to playful ("I'm sure the stage patter will be slightly different from your usual writers circle" - Berg) to maybe a little amused, as Johnson attested: "When I got into the music business, I was at some conference where somebody said, 'Just remember, girls, 90 percent of this industry is male. And I remember thinking, 'Well, I'm going to be part of that 10 percent!'"

Looking further ahead, Nov. 29 will be dedicated to "The Groups and Duos of Country Music."

"I think these shows work well with people who haven't really heard Country Music," said Nichols, who has appeared at three CMA Songwriters Series events at Joe's Pub. "When it's just a voice and a guitar, they don't hear it as Country or pop or rock; it's just a song - a lyric and a melody. And that resonates with people, to the point that they come up after we've finished and say, 'That was fantastic.'"

Even Buck Owens couldn't have said it better.

On the Web: CMAsongwritersseries.com, joespub.com

Two shows take place each night. Purchase tickets at Joe's Pub (212) 967-7555 or joespub.com.  Official sponsors for CMA Songwriters Series include American Airlines, ASCAP, BMI and Country Weekly magazine. American Airlines is the official airline of the CMA Songwriters Series.

   

Images for above article.

 

 

 
 
CMA Songwriters Series at Joe's Pub performers backstage on March 29 in New York City. (l-r) Craig Wiseman, Tony Mullins, Jeffrey Steele, Bob DiPiero and Keith Anderson. Photographer: Denise Carberry
Photo: See Caption

 

CMA Songwriters Series at Joe's Pub performers on stage on May 31 in New York City. (l-r) Jell Roll Johnson, Tony Arata, Fred Knobloch and Thom Schuyler. Photographer: Joanna Weislogel
Photo: See Caption

 

CMA Songwriters Series at Joe's Pub performers backstage on July 18 in New York City. (l-r) Tim Nichols, Bob DiPiero, Victoria Shaw, Brett James, CMA COO Tammy Genovese and Kix Brooks of Brooks & Dunn. Photographer: Stuart Ramson
Photo: See Caption

 

 

 

 

 

T. J. Martell Foundation: Music Leads the March Against Deadly Diseases
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

You might think that the T. J. Martell Foundation's greatest contribution to combating leukemia, cancer and AIDS is financial.

You would, however, be wrong, according to Tony Martell, the record industry veteran who launched this organization more than 30 years ago and is the Foundation's Chairman of the Board.

"I was visiting Mount Sinai [Hospital, in New York]," he recalled, "and this patient grabbed my hand and said, 'I know about your Foundation. You give us something that you probably don't even know.' I thought for a minute and said, 'What is that?' "And he said, 'You give us hope.'"

It is impossible to calculate how many people have benefited from this gift. More material results are easier to trace, which include paying for advances in combating lung cancer and adult leukemia as well as raising the survival rate for children with cancer of the eyes - neuroblastoma - from 18 to more than 90 percent.

Working on several fronts, from fundraising to connecting researchers working on similar projects, the Foundation draws much of its energy from the musical community, which Martell has served through a career that includes service as head of Associated Labels at Epic Records and Senior VP and GM of Epic/Associated Labels at Sony Music.

Its motivation, though, comes from closer to home. Shortly before his son T. J., 21, succumbed to myeloblastic leukemia in 1975, Martell promised that he would raise $1 million toward seeking its cure. Since then, the Foundation has earned and invested nearly $240 million, making strides in particular toward eliminating the threat of the disease that took T. J.'s life.

The first step down this path was a big one: an all-star jazz jam session at the home of drumming legend Buddy Rich, with Count Basie, Ella Fitzgerald, Benny Goodman, Woody Herman and other swing-era giants. The audience ponied up $50,000 for the privilege of witnessing their 90-minute summit.

Since then artists of all styles have contributed their time and talent to this cause. For many, the motivation came from close to home. When Mötley Crüe vocalist Vince Neil lost his 4-year-old daughter Skylar Lynnae to Wilms' tumor, he began an ongoing effort to cure this rare form of kidney cancer, through his own organizations as well as the Foundation. In November, Neil will host his third annual poker tournament in Las Vegas followed by his Rock 'n' Roll Cruise in January, with both events benefiting the Foundation. For all artists who have supported the Foundation, though, Martell sensed a common denominator.

"They're musicians," he said. "They have feelings. When I think of artists who've performed for us, from Neil Diamond to Barbra Streisand and Bruce Springsteen, they all have such open hearts. I've been in the music business for 42 years. I thought I knew musicians until the Foundation came along, and then I saw how generous and caring they are. They really want to do something good."

Yet even within these circles, the commitments made by Country artists have been outstanding. "You talk about heart?" Martell asked. "Country folk have the biggest hearts going. Words can't describe how generous these people can be." Their involvement owes much to the efforts the Foundation's Nashville Board members, including BMI President Emeritus Frances Preston, who lives in New York and serves as the Foundation's Board President, and Tony Conway, President of Buddy Lee Attractions in Nashville, who also serves as Executive Producer of CMA Music Festival.

"There were several reasons why I joined the Board," Conway said, "but I did watch my former associate Buddy Lee suffer through cancer until he died. I just wanted to give something back to the community."

As Conway remembered, "Tony's instructions were to do events to raise money where people have fun." This inspired Preston to come up with Country in the Rockies, an annual retreat during which donors enjoy a week of skiing, snowboarding and dining at Steamboat Springs, Colo., with entertainment provided by an assembly of Country artists. Another idea took shape five years later: the Best Cellars wine dinner, whose attendees savor a five-course gourmet meal, with a well-known Country performer and a wine steward at each table. At the eighth annual dinner in April, at Nashville's Loews Vanderbilt Hotel, food was prepared by John Fleer, formerly chef at Blackberry Farm in Walden, Tenn., with Blue County, Brooks & Dunn, Terri Clark, Martina McBride, Montgomery Gentry and LeAnn Rimes among the celebrity guests, all at a cost of $800 per participant.

In the two years since Conway began his tenure as President of the Foundation's
Nashville Division Board of Directors, two new events have helped channel more money into their budget. The Celebrity Tablescapes exhibit unveils table settings, from the elegant to the whimsical, conceived by Country artists. Each table will feature a special theme and will include unique auction items for patrons to purchase at a VIP reception for $100 on Monday, Sept. 24 and a luncheon the next day, for $75, at the Hilton Nashville Downtown.

And this year's Celebrity Cake Decorating Competition, held in July at
Nashville's Gaylord Opryland Resort and Convention Center, showed off the pastry prestidigitations of Country notables whose designs reflected a theme from one of their songs.

"Eddie Montgomery and his wife Tracy did 'Lucky Man,'" reported T. J. Martell
Foundation Executive Director Laura Heatherly. "Troy Gentry and his wife Angie
featured 'Something to Be Proud Of.' Aaron Tippin and his wife Thea did 'Ain't Nothin' Wrong with the Radio.' Dean Sams and Michael Britt of Lonestar chose 'Mountains.' And Julie Roberts and her mom Sandra - this was a hoot - their theme was 'Men and Mascara.'"

The Foundation's activities led them as well to CMA Music Festival, with its second annual Ride for a Cure featuring Little Big Town and 250 motorcyclists rolling from the Harley-Davidson store in Cool Springs, Tenn., and up Interstate 65 to the Country Music Hall of Fame Park for a barbecue and auction timed to coincide with the end of the Festival's Kick-Off Parade on June 6.

To honor his contributions through these and other activities, music industry leaders in Nashville hosted a reception at BMI and a lunch for Martell at The Palm restaurant in May. Attendees at the luncheon included Conway, Preston, and artists Blue County, Carolyn Dawn Johnson, Jamie Johnson of The Grascals, Gary Morris, Megan Mullins and Charlie Daniels, a longtime friend of Martell's and a prostate cancer survivor himself.

"I've got four cancer survivors in my outfit," Daniels explained. "And I'll never forget when I got called and told that my biopsy had come back positive. Every time you turn around, somebody else has got it. I don't know what causes it. But I do know we're making headway against it. And of course you have a special feeling for people who do that after you've been through the experience. Certainly, Tony is a special guy."

That has come to ring true for Martell in recent years too, but the effect has only been to steel his determination to help target and tame these diseases.

"I have bladder cancer," he said. "I was in a very precarious way for a while. But I had it beat from the beginning. I always say: Weeds don't die.

On the Web: www.tjmartellfoundation.org

   

Images for above article.

 

 

 

 
T.J. Martell Foundation board members attend a music industry luncheon in Nashville in May to honor Tony Martell's contributions. (l-r) Board President Frances Preston, Board Chairman Tony Martell and Nashville Division President Tony Conway. Photo: Randi Radcliff
Photo: See Caption

 

Guests at the Best Cellars wine dinner at Nashville's Loews Vanderbilt Hotel in April. (l-r) Phran Galante and husband Joe Galante, Chairman, Sony BMG Nashville; Ronnie Dunn of Brooks & Dunn; Board President Frances Preston; Terri Clark; Chef John Fleer; Dr. Hal Moses; Billy Ray Hearn, Chairman/Founder EMI Christian Music Group; Troy Gentry of Montgomery Gentry; Bill Hearn, President and CRO, EMI Christian Music Group; and Eddie Montgomery of Montgomery Gentry. Photo: Randi Radcliff
Photo: See Caption

 

Little Big Town (Jimi Westbrook, Karen Fairchild, Kimberly Roads and Philip Sweet) on the slopes in Steamboat Springs, Colo., while hosting Country in the Rockies in January. Photo: Alan Mayor
Photo: See Caption

 

Cake designer Martin Howard, Julie Roberts and mom Sandra Roberts win the Best of Show Award at the Celebrity Cake Decorating competition in July. Photo: Randi Radcliff
Photo: See Caption

 

NEW ARTIST SPOTLIGHT: Jason Meadows
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

America got to know Jason Meadows as the young man with the chiseled good looks, self-deprecating charm and rugged but tuneful voice who made it all the way to second place in the third season of "Nashville Star." But though he looked and sounded right at home on a sleek stage set, bathed in a high-tech halo of spotlights, part of his charm was that sense that there was someplace else closer to his heart.

That place is Oklahoma, where living close to the land nurtured his twin interests in music and rodeos from the moment he was old enough to sing and ride. Meadows developed quickly in both areas, sharpening his skills as a calf roper with the Oklahoma Youth Rodeo Association while soaking up every note his cousin and grandfather would play on guitar, fiddle and harmonica.

By age 16, Meadows had developed his own vocal sound, based on Hank Williams Sr. and Jr., Merle Haggard, Buck Owens, Conway Twitty and other influences but shaped through his own emerging gifts as a songwriter. His reputation grew to the point that Reba McEntire, on the basis of recommendations from trusted friends, brought him to Nashville, where he scuffled on construction jobs to pay for the time it took before Nick Pellegrino agreed to produce his demos.

Those recordings won Meadows his shot on USA Network's "Nashville Star," which in turn opened the door to his album debut, 100% Cowboy, on Baccerstick Records. If that title doesn't say all you need to know, then the title track will, from the opening guitar, slithering like a rattler in the dust, to the pride behind the lyrics he wrote: "I'm not one of them posing pretty boys." And you'd better believe it.

IN HIS OWN WORDS:

Who is your musical hero?

"Chris LeDoux is someone who shines in my eyes as a musical hero. He stayed true to who he was. No one ever influenced him to the point of compromising the fiber of the  man that he was. He was high energy and he put on one heck of a show. He played his own music with a fury and a fervor that you can't teach someone. It's either in your determination and grit or it isn't. That's exactly what I like to do. I just want to do a great  show and have a great time right along with everyone in the crowd. Even Garth Brooks learned from Chris LeDoux."

Which song would you like to cover?

"We've been doing a song in my live show and we changed the words a little and turned it into 'Play That Country Music Cowboy,' a Country Music version of the funk song 'Play That Funky Music.'  People just absolutely eat it up. I don't know whether it will ever appear on one of my albums or not, but it's a fun thing in a live performance setting and the audience goes nuts."

What CD is on your stereo?

"I don't really have a lot of CDs, but there's one in my truck by a guy named Randy Archer. Boy, do I love it. It is so Country. It has that old Country feel to it like the old Conway [Twitty] stuff . the Buck Owens-type REAL Country Music."

What book is on your nightstand?

"I have two. I have the Holy Bible and a book by Joel Olstien titled Life's Changes. It's a series of totally positive, motivational stories that basically coach you in positive thinking. If you think positive thoughts and believe, then positive things will happen. Negative thoughts can have the opposite result."

What do you sing in the shower?

"If I sing in the shower, it's probably whatever was the last song I heard on the radio before stepping into the shower. Songs have a way of sticking in my head like that."

What is your pet peeve?

"Someone telling me one thing and then going and doing another. That just aggravates the tar out of me. I try to stay true to being a man of my word and I hold everyone around me to that same standard. If I tell you I'm going to do something, then that's what I'm gonna do."

What actor would portray you in a biopic about your life?
 
"Whoooo, that's a tough one. I'd have to select Kevin Costner, not only as an actor, but as a person. He knows and understands the 'cowboy way.' He appreciates cowboy tradition, he truly loves music and he incorporates both into his everyday life. Someday I would love for him to direct one of my videos."

What moment in your life would you relive if you could?

"The night that I met the love of my life is a moment in my life I would relive if I could. That was such an interesting night because we had never seen each other before in our lives. We met in a honky tonk and we both instantly felt the same way about each other. I pulled out all of my best lines . something like 'I think your daddy was a thief 'cause somebody stole the stars and put them in your eyes.' She fell right for it, man. I think of that night often."

What song do you wish you had written?
 
"Wow. The first song that comes to my mind is probably 'The Dance.' Lyrically, it's one of the strongest songs I've heard and it has made an impact on so many people. That was really a once-in-a-lifetime chance to write a song like that and impact as many lives as that one has. It stands alone and speaks for itself. I hope my music affects people's lives one day in that same sort of positive way."

What word or phrase do you find yourself saying over and over again?
 
"Well, there are several that rank about equal to each other: 'You know?' and 'Yeah Boy' and 'Ahhh-ight Then.' I really have to watch myself. We just grow up saying things and they're effective at the moment and we use them whether they're grammatically correct or not. Sometimes they're just fun, and they work at the time."

Do you have a lucky charm?

"I used to. It was my Skoal can. I used to carry it in my right rear pocket of my Wranglers. If I wanted something to happen in a lucky way, I would put it up in my front left shirt pocket. That's where I'd carry it during roping competitions, for example."

Who is your dream duet partner?
 
"Dolly Parton is definitely my dream duet partner. I've always been a huge fan of her singing and I've always wanted a chance to sing a song with her. She just has the sweetest voice. I've actually held back a song for her to sing with me. I have it tucked away and I'm saving it for Dolly and me."

If you wrote an autobiography, what would the title be?
 
"My Life: Country as a Dirt Clod."

When they look back on your life in 50 years, what do you hope people say about you?

"I hope people say that I've had a good career with my music and that I've changed people's lives and inspired people to do good things. I want to be that George Strait 50 years from now. Now that's a career! We all long for the day we have 51 hits under our belt, but those are some mighty big boots to fill. I'd be grateful if I accomplish half of that . of course, I wouldn't turn down the other half."


On the Web: www.jasonmeadows.com

   

Images for above article.

 
     
Jason Meadows; Baccerstick Records; Photo: Melinda Norris
Photo: See Caption

 

     

NEW ARTIST SPOTLIGHT: Elana James
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Elana James' self-titled debut is swinging musical proof that, sometimes, a bump in the road can provide the perfect wakeup call. James spent eight successful and well-traveled years as fiddler/vocalist for acclaimed Austin, Texas-based western swing outfit, Hot Club of Cowtown. Hot Club was touring with Bob Dylan and Willie Nelson when the decision was made to take an extended break. Right at that moment, Dylan called, and James began touring as a member of his band.

Inspired by Dylan's career longevity and on-the-road fortitude, James resolved to record her own album her own way, enlisting the help of old friends including legendary Texas fiddler Johnny Gimble. The resulting project, released Feb. 27 on James' own label, Snarf Records, and produced by James with Mark Hallman, is a rare gem of an album that finds James spreading her formidable musical wings.

The album features a 50/50 mix of standards and inspired originals, all delivered with a sly wink and lifted by James' charming vocals. James moves easily from the fiddle-spiced swing of "Twenty-Four Hours a Day" to the deep-and-dark Appalacian meditation of "All the World and I." A cover version of Dylan's Nashville Skyline classic, "One More Night," completes the picture.

A native of Prairie Village, Kan., James studied classical violin from the age of 5, picking up music from her mom, a concert violinist, and her winning stage persona from her gregarious dad. After high school, she studied at Manhattan School of Music and was soon amazed to be jamming with and learning from some highly regarded players including Cliff Bruner, Gimble, Hoot Hester and Kenny Sears. For James, pouring all of that invaluable experience into her first solo project has been a life-changing experience.

"I'm kind of starting over with new fans," she said. "It's kind of a freeing situation - you do what you do because you want to do it."

IN HER OWN WORDS:

Who are your musical heroes?

"Willie Nelson and Bob Dylan."

Which song would you secretly like to cover?

"'Ripple' by the Grateful Dead. Ah, now it's not so secret. I love that song."

What CD is on your stereo?

"Woody Guthrie, The Asch Recordings Vol. 1: This Land is Your Land."

What book is on your nightstand?

"The Dead and the Living, poems by Sharon Olds."

What song do you wish you had written?

"'Stardust.'"

What moment in your life would you relive if you could?

"It hasn't happened yet."

On the Web: www.elanajames.com

   

Images for above article.

 
     
Elana James; Snarf Records; Photo: Todd V. Wolfson
Photo: See Caption

 

 

 

First Round of Performers Announced for 'The 41st Annual CMA Awards'

Country Superstars Kenny Chesney, Martina McBride, Rascal Flatts, George Strait and Keith Urban to Perform on 'Country Music's Biggest Night'

Tenn., Sept. 17 -- The star-packed lineup for "The 41st Annual CMA Awards" is beginning to take shape with the announcement today that Kenny Chesney, Martina McBride, Rascal Flatts, George Strait and Keith Urban will perform. "The 41st Annual CMA Awards" airs live from the Sommet Center in Nashville, Wednesday, Nov. 7 (8:00-11:00 PM/ET) on the ABC Television Network.

"The CMA Awards is the industry's biggest single opportunity to expand the format and reach a broader audience with our music," said CMA Chief Operating Officer Tammy Genovese. "And we have a strong slate of nominees and an incredible pool of music to draw from. We are dedicated to delivering the best-of-the-best and this is a great start."

CMA's reigning Entertainer of the Year, Chesney received four nominations this year for Entertainer, Male Vocalist, Musical Event with Tracy Lawrence and Tim McGraw on Lawrence's "Find Out Who Your Friends Are," and Music Video of the Year for "You Save Me" directed by Shaun Silva. His latest album, Just Who I Am: Poets & Pirates was released Sept. 11.

McBride also had four nominations for the 2007 CMA Awards including Female Vocalist, Single, Song and Music Video of the Year for "Anyway," which she co- wrote with brothers Brad and Brett Warren. McBride could pick up an additional trophy as producer for Single of the Year for the inspiring ballad. McBride released Waking up Laughing in April.

Rascal Flatts was nominated for Entertainer and Vocal Group of the Year. The Entertainer of the Year category has only been won by two groups in CMA Awards history: Alabama (1982, 1983, 1984) and Dixie Chicks (2000). Rascal Flatts has swept the Vocal Group of the Year category the past four years. The next album by Rascal Flatts, Still Feels Good, will be released Sept. 25.

A 2006 inductee into the Country Music Hall of Fame, Strait tied with Brad Paisley for the most CMA Awards nominations with five. Strait's nominations include Entertainer, Male Vocalist, Album for It Just Comes Natural (co- produced by Tony Brown), Musical Event with Jimmy Buffett and Alan Jackson for the live version of "Hey Good Lookin'," and Single of the Year for "Wrapped." Strait could win two additional trophies as producer for Single and Album of the Year.

Urban, CMA's reigning Male Vocalist of the Year, received three nominations for Entertainer, Male Vocalist and Album of the Year for Love, Pain & the whole crazy thing, which he co-produced with Dann Huff. Urban has won the Male Vocalist Award every year he has been nominated (2004-2006). He won Entertainer of the Year in 2005. Look for his greatest hits package in stores Nov. 20.

Tickets for the 2007 CMA Awards are on sale now and can be purchased by logging on to www.ticketmaster.com; calling (615) 255-9600; or in person at the Sommet Center box office, 501 Broadway (corner of Fifth Avenue and Broadway, in Nashville). Ticket prices begin at $164 (excluding applicable service/handling fees), with prices increasing depending on seating level.

"The 41st Annual CMA Awards" is a production of the Country Music Association. Walter C. Miller is the Executive Producer, and Robert Deaton is the Producer. Paul Miller is the Director. The special will be shot in high definition and broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

Premiere Radio Networks is the official radio packager of the CMA Awards, including a stereo-radio simulcast of the gala event. American Airlines is the official airline of the 2007 CMA Awards. Chevy: The Official Ride of Country Music. Mary Kay(R) is the Official Beauty Sponsor. Additional promotional partners include Crisco(R), Gibson Guitar(R), Greased Lightning(R) Cleaning Products and The Yankee Candle Company.

Source: Country Music Association

Web site: http://www.cmaawards.com/

 

 

Issue Date: 9/11/2007  
 
Country Music Hall of Fame to Induct Ralph Emery, Vince Gill and Mel Tillis
By Bob Doerschuk and Scott Stem

 

Hours before they were presented to the public as this year's three inductees into the Country Music Hall of Fame at a press conference at the Country Music Hall of Fame and Museum, radio giant Ralph Emery; triple threat singer, songwriter and instrumentalist Vince Gill; and legendary entertainer and songwriter Mel Tillis gathered in the Rotunda at the Museum to share thoughts with each other, pose for pictures and otherwise prepare to receive the greatest honor bestowed in the world of Country Music.

They spoke quietly in the reverberant room, their moods subdued in the early morning. Each had known for only a very short while of his own election [by CMA's Hall of Fame Panel of Electors, consisting of more than 300 anonymous voters appointed by the CMA Board of Directors] in three categories: Emery in the "Non-Performer," which is rotated every third year with the "Career Achieved National Prominence Prior to World War II" and "Recording and/or Touring Musician Active Prior to 1980;" Gill will be the third artist inducted in the "Career Achieved National Prominence Between 1975 and the Present," which was created in 2005; and Tillis in the "Career Achieved National Prominence Between World War II and 1975" category.

Each had also been sworn to secrecy, to the extent that none knew who his colleagues in this year's selection would be until their arrival. When Gill and Tillis pulled into the parking lot behind the Museum at the same time and caught each other's eye, neither was sure whether they could yet be candid about why they were there.

Gill recalled as he spoke tentatively to Tillis: "So . you're the other one?" His friend smiled and nodded, and with that the secret was unofficially out.

As preparations for their photo shoot began in the Rotunda, and as media crews set up their cameras and microphones in the Ford Theater downstairs, Gill took a moment to walk off by himself, strolling slowly around the room, contemplating the plaques that honored the 98 artists, writers, executives and other individuals who had been welcomed into the Hall of Fame since its establishment by CMA in 1961.

Later, as the last of the three to address the friends, family, reporters and a handful of surprised Museum visitors assembled at the theater, Gill drew from that moment to speak for the other inductees as well as himself on the significance of the occasion.

"When you go up into that Rotunda," he said, his voice breaking with emotion, "and walk around that circle, and you read those names of those people, it is the most wonderful thing in the world to realize that every living soul on that wall had something to do with me, with Mel, with Ralph, with all of us learning to do what we wanted to learn how to do and get to do. We're so lucky and so blessed to get to be able to do this."

In referring to the pleasure and privilege of making music or serving the interests of those who do so, Gill pinpointed the actual significance of the Hall of Fame: The music itself, more than the distinction it brings, is the point.

This was clear in conversations with the inductees at the Rotunda. Speaking individually, each of the three emphasized his surprise at having been selected as well as his conviction that there were others worthy of the honor. Said Gill, "An awful lot of people deserve to be here.," while Tillis said, "I hope I deserve it. There are a lot of them out there who deserve to get in." And Emery put it simply: "I can't really imagine my being in the Hall of Fame."

There was no artifice in their words. One could sense, in the quiet of the Rotunda and the more festive bustle that followed in the Ford Theater green room, that humility walks hand in hand with greatness. And through the dignity of Emery, the buoyant humor of Tillis and the love for the music and its practitioners expressed so movingly by Gill, there was no doubt that these new members exemplify those qualities that distinguish their predecessors and the art that they celebrate.

"Induction into the Country Music Hall of Fame is the highest musical honor a Country Music artist and industry veteran can attain," said Tammy Genovese, CMA COO. "All three of these extraordinary men are highly deserving of this honor.

"Ralph Emery brought more than just Country Music into our homes via radio and television. His entertaining and thought-provoking interviews have always provided a unique glimpse into the personal side of our favorite performers.

"As a singer, songwriter and performer, Mel set a high standard for all entertainers. His presence in movies and TV alongside the top actors of that time gave Country Music a higher profile in the '70s and made Mel a pop culture icon.  

"Vince is the ultimate triple threat: a singer with the voice of an angel, a songwriter who conveys the joys and heartbreaks of life with every word he writes, and a consummate musician, who is equally at home playing guitar with Chet Atkins or Eric Clapton. As the longtime host of the CMA Awards, Vince also represented Country Music with dignity and humor for 12 years."

Emery, Gill and Tillis will be officially inducted in October during the traditional, invitation-only Medallion Ceremony at the Museum. 

"It is with great pride that CMA will induct these three outstanding artists and personalities into the Country Music Hall of Fame, where they will join a small yet monumental group of entertainers and industry veterans whose influence on Country Music is enormous," said Genovese.

"The Country Music Hall of Fame's Medallion Ceremony, which takes place during the annual reunion of the membership, has historically been the occasion where new inductees are presented the keepsake medal commemorating their ownership of Country Music's paramount honor," said Country Music Hall of Fame and Museum Director Kyle Young. "The medals traditionally are presented by a member of the Hall of Fame during an intimate and emotional evening of homecoming, storytelling, music, memories and fellowship.

"We are honored that CMA sees our ceremony as the appropriate setting for the official induction of new members. Including the formal induction as part of the evening will certainly seal the event's reputation as Country Music's most prestigious night."

The press conference, hosted by Genovese, took place Aug. 7. Nashville Mayor Bill Purcell congratulated the new inductees on behalf of Music City U.S.A. Emery was introduced by his longtime friend and former two-time CMA Entertainer of the Year, Barbara Mandrell. Gill was introduced by Young, while Tillis was introduced by his good friend and Country Music Hall of Fame member Brenda Lee. 

"This year's inductees exemplify the way in which the music community respects it own across all generations. They remind us that Country Music is a business in which timeless talent continues to be nurtured and where ageless music truly knows no age." - Bill Purcell

"I am so very, very honored and privileged to be able to announce to you this year's inductee, one of my dearest friends, Ralph Emery. It would be impossible for me to describe all of the profound, enormous contributions Ralph has made to Country Music. Everything he has done, he has done with such integrity, such knowledge, such talent and such brilliance that it has made all of us look good and be the better for it. He has enriched our wonderful world of Country Music . I revere this man. I admire him. I respect him. I adore him. I love him. And I could spend this whole day speaking about him and the great things that he's done for this business." - Barbara Mandrell

"I'm so proud to be here to induct one of my dear, dear friends, Mel Tillis . Fifty-one years ago, when I was 10, I did my first Country tour, with Mel, Faron Young, George Jones and Patsy Cline. If you didn't think that was an education, you've got another thing coming. But that's how far Mel and I go back, and 10 years ago, when [then CMA Executive Director] Ed Benson called me in Branson, Mo., and said that I was being inducted into the Hall of Fame, Mel was one of the first people I told. He was as happy for me that day as I am this day to be a part of his induction." - Brenda Lee

"In the three decades that I've been involved with this Museum, I've gotten to do a lot of cool things, work with some wonderful people and participate in and witness some incredibly memorable events. I can truthfully say that few occasions have brought me greater pleasure than to stand on this stage today and announce to the world that my friend Vince Gill, has been elected to the Hall of Fame. . Vince has a deep and abiding love for the traditions and heritage of Country Music. . Vince is a living prism, reflecting all that is good in Country Music. He uses the crystal planes of his songwriting, his playing and his singing to give us a musical rainbow that embraces all men and spans all seasons. . And as anyone who knows him can attest, he's just a good guy." - Kyle Young

"I want to thank [CMA's Hall of Fame Panel of Electors] who had enough faith in me to let me spend an eternity in this building. It is one of the greatest moments of my life to share space with so many of my treasured friends who are already here and those who are soon to arrive. . I'm so happy to share this day with my wonderful wife Joy, with whom I celebrated 40 joyous years of marriage on the 26th of March this year. . In closing, I want to thank my Heavenly Father for holding my hand, especially when my life would get a little shaky. Thank you."
- Ralph Emery

"I so much love that relationship I've had with CMA for so many years. Even before I became the host of their [Awards] show, I went to the Awards every year since I lived here and loved it and just marveled at all the talent and all the people and everybody that came into this Hall of Fame. I never believed for an instant that I would be here. Then, after a lot of years of living, you wonder if you might. Maybe you start to see your own mortality a little bit.

"I see so many friends in this room. My daughter Jenny came. She's been crazy enough to jump into this business right behind me. My wife Amy is here. We've been married for the last seven and a half years, without a doubt the kindest, most gracious years I've ever spent on this earth, and I thank you for that. Bless you."

"When I found out I was being inducted, it took me under in a big way. I was not expecting that. I don't think I've ever really done much in my life that was the result of something. It was just that the work seemed like fun. One band led to another band to another town to another gig I just loved living life right at the moment. I never planned ahead. . When I heard the news, I got in the car and took off driving. I turned on 'Willie's Place' on [XM] Satellite Radio. The first three songs I remembered so vividly as a child. And I wept as they played, one after the other. Out of all the things I've ever done, it matters. It matters so very much. Thank you so much."
-Vince Gill

"Man, can you believe this? I'll tell you what, folks, I was surprised when I got the message from Tammy. I was in my garden, holding an eggplant. My cell phone went off. It was Tammy, and when she told me, I dropped my eggplant. The hardest part of it was that you're not supposed to tell anybody. And you know I'm a blabbermouth, but I kept my word. Well, I'm not going to lie to you. I think I told my son . I suppose that an honor such as this deserves a speech. Well, lucky for you folks, I don't do speeches, because we'd be here forever . I want you to meet my significant other. She's put a little stability in my life - Kathy DeMonaco. Last but not least, I want to thank this little angel that has been on my shoulder since the beginning and took care of me. Thank you."
- Mel Tillis

RALPH EMERY

Walter Ralph Emery was born March 10, 1933, in McEwen, Tenn. In 1951, after attending the Tennessee School of Broadcasting, he accepted a job at WTPR/Paris, Tenn., and later worked at WNAH/Nashville and WAGG/Franklin before obtaining a position at his first major network radio station, WSIX/Nashville.

In 1957, Emery began a 25-year run as late-night disc jockey on WSM/Nashville. On this show, which was heard over much of the southern and central United States, he interviewed artists and often hosted impromptu jam sessions. Thanks to this program, Emery grew to be a friend and trusted confidante to some of the biggest Country Music stars while also winning the Country Disc Jockey of the Year Award six times.

In the 1960s and '70s Emery became an announcer on "The Grand Ole Opry." A few years later, he hosted and produced a 90-minute, live morning show on WSM-TV/Nashville that would run for nearly 30 years. "The Ralph Emery Show" featured an in-studio band of local session musicians and rising singers, including Lorrie Morgan and The Judds. In its prime, the show was watched by two out of three Nashville homes every weekday. Using the same format, he also hosted "Sixteenth Avenue South," an afternoon program for WSM-TV in the late '60s.

From 1974 through 1980, Emery hosted the syndicated TV series "Pop! Goes the Country," and in 1976 he served as announcer for Dolly Parton's syndicated TV series, "Dolly." In 1981 and '82, he hosted "Nashville Alive," which was filmed at the Opryland Hotel's Stagedoor Lounge and aired on the WTBS cable channel, making it Nashville's first foray into cable TV.

In 1983, The Nashville Network (TNN) chose Emery to host its flagship program, "Nashville Now." Infused with his personable style, and enlivened by his sidekick puppet Shotgun Red, this nightly program ran for 10 years and drew not only every major and rising Country artist but also then-President George H. W. Bush, future President Bill Clinton and non-Country celebrities Steve Allen, Jay Leno, Mickey Rooney, Cybill Shepherd and Lily Tomlin, among others. In 1986, Cable Guide magazine named Emery its Favorite Cable Personality of the Year over competition that included Dick Cavett and Larry King. In 1989, he was inducted into the Country Music DJ and Radio Hall of Fame.

Seeking other creative outlets, Emery played himself in three movies - "Country Music on Broadway" (1965), "Nashville Rebel" (1966) and "The Road to Nashville" (1967) - and acted in "The Girl from Tobacco Row" (1966) and in the TV movie "Country Gold" (1982). He wrote several books as well. The first, Memories: The Autobiography of Ralph Emery, co-authored with Tom Carter, lodged high on the New York Times Best Sellers list for more than six months. Emery collaborated with Carter on another book, More Memories (1993) and with Patsi Bale Cox on, The View from Nashville (1998) and 50 Years Down a Country Road (2001).

After ending "Nashville Now" in 1993, Emery produced and hosted several specials for TNN, including "On the Record," that featured in-depth interviews with celebrities including Vince Gill, Andy Griffith, Reba McEntire, Dolly Parton, Tammy Wynette, and the first nationally televised interview with former President George Bush and First Lady Barbara Bush after leaving the White House. He also hosted TNN's first daytime talk/variety series and produced "Ryman Country Homecoming" and "Ralph Emery's Country Homecoming," on which Country Music legends performed and shared stories from their lives. He currently hosts "Ralph Emery Live" on RFD-TV.

Earlier this year, Emery celebrated 40 years of marriage with his wife Joy. They have three children, five grandchildren and three great-grandchildren.

 VINCE GILL

Born on April 12, 1957, in Norman, Okla., Vincent Grant Gill played an array of instruments well enough to join the bluegrass band Mountain Smoke as a high school student. After graduation in 1975, he moved to Louisville, Ky., where he played with Bluegrass Alliance and briefly with Ricky Skaggs' Boone Creek band before leaving for Los Angeles, where he worked with fiddler Byron Berline's bluegrass group Sundance.

With Pure Prairie League, Gill recorded three albums and sang lead on the Top 10 hit "Let Me Love You Tonight." In 1981, he joined the Cherry Bombs, Rodney Crowell's backing band, where he met Tony Brown and Emery Gordy Jr., both of whom would produce many of his future solo albums.

Signed to RCA Records, Gill relocated with then-wife Janis and daughter Jenny to Nashville. Gordy produced his mini-debut album, Turn Me Loose, which featured his first charting solo single, "Victim of Life's Circumstances." A full album, The Things That Mattered, followed later that year and yielded two Top 10 singles, a duet with Rosanne Cash on "If It Weren't for Him" and a solo hit, "Oklahoma Borderline." His first Top 5 single, "Cinderella," dropped from The Way Back Home in 1987.

After moving to MCA Nashville in 1989, Gill released When I Call Your Name. Its debut single, a duet with Reba McEntire titled "Oklahoma Swing," reached the Top 20, but the title cut peaked at No. 2, and earned Gill his first CMA Award (Single of the Year) and Grammy Award (Best Male Country Vocal Performance). The third single, "Never Knew Lonely," climbed to No. 3 and helped drive the album to Platinum sales. A second Platinum album, Pocket Full of Gold, followed in 1991, with four Top 10 hits. That same year he earned his first CMA Vocal Event of the Year Award for his performance with Mark O'Connor and the New Nashville Cats. Gill broke the quadruple-Platinum barrier in 1992 with I Still Believe in You, whose title cut became his first No. 1 single. He topped the charts again on another duet with McEntire, "The Heart Won't Lie," featured on her album It's Your Call.

His 1993 Christmas album, Let There Be Peace on Earth, was followed a year later by When Love Finds You, whose sales topped 4 million. In 1994 he also sang duets with Amy Grant on the title cut of her album House of Love, with Gladys Knight on the all-star Rhythm, Country and Blues album and with Dolly Parton on her signature "I Will Always Love You," which earned them the CMA Vocal Event of the Year honor in 1996.

Gill revisited his bluegrass roots in 1996 with High Lonesome Sound and then dug into hardcore Country on The Key in 1998, his first album to top the Billboard Country Albums chart. Furthering his reputation as a masterful duet partner, he sang "If You Ever Leave Me" with Barbra Streisand on her album A Love Like Ours in 1999.

Gill commemorated his marriage to singer Amy Grant in 2000 with Let's Make Sure We Kiss Goodbye; their daughter Corinna was born in 2001. Three years later he released his first self-produced album, Next Big Thing, and then united with Richard Bennett, Tony Brown, Rodney Crowell, Hank Devito and others as the Notorious Cherry Bombs for a 2004 release on Universal Records South. In 2006, he released a four-CD tour de force, These Days, which featured 43 new songs in a variety of musical styles and paired him with a dazzling lineup of guest artists, including Grant and his daughter Jenny Gill.

With more than 22 million albums sold, Gill has accumulated a collection of honors that includes 18 CMA Awards (second only to Brooks & Dunn in accumulating the most CMA Awards), two of them for Entertainer of the Year in 1993 and '94, and 18 Grammy Awards, the most earned by any Country artist. He is tied with George Strait for having won the most CMA Male Vocalist Awards (five).  From 1992 through 2003, Gill hosted the CMA Awards, setting a record for the most times anyone has consecutively hosted a television awards show. He serves currently as President of the Country Music Hall of Fame and Museum's Board of Officers and Trustees.

An avid golfer as well as an outstanding humanitarian, Gill helped create the annual Vince Gill Pro-Celebrity Invitational Golf Tournament - aka, "The Vinny" - in 1993 to help support junior golf programs throughout Tennessee.

MEL TILLIS

Born Aug. 8, 1932, in Tampa, Fla., Lonnie Melvin Tillis was just 3 years old when he survived a bout with malaria, believed now to have caused his lifelong stuttering problem. He made his debut in a local talent show at age 16 and continued playing music after joining the United States Air Force, when he played at military clubs in Okinawa, Japan, with a group called The Westerners.

Leaving military service in 1955, Tillis worked as a fireman on the Atlantic Coastline Railroad in Dover, Fla. A year later, he left for Nashville to seek his fortune. When Webb Pierce cut his song "I'm Tired," he also signed the young songwriter to his Cedarwood Music Publishing Company. Tillis composed several more hits for Pierce as well as for Bobby Bare ("Detroit City"), Patsy Cline ("Strange" and "So Wrong"), Stonewall Jackson ("Mary Don't You Weep"), Brenda Lee ("Emotions") and Ray Price ("One More Time," Burning Memories" and "Heart over Mind").

His own performing career began with his cover of "It Takes a Worried Man to Sing a Worried Song" in 1957. Tillis reached the Top 40 with "The Violet and a Rose in 1958 and "Finally" in 1959. Columbia Records released his first album, Heart over Mind, in 1962, along with singles that included "The Brooklyn Bridge," "Loco Weed" and "Walk On, Boy."

The mid-to-late 1960s brought more and greater successes, including the Top 15 single "Wine" in 1965 and his first Top 10 hit "Who's Julie?" in 1968. His renown as a writer grew as well, through covers by Waylon Jennings ("Mental Revenge"), Charley Pride ("The Snakes Crawl at Night") and Kenny Rogers and the First Edition, who turned Tillis' "Ruby, Don't Take Your Love to Town" into a Top 10 pop hit in 1969. Tillis himself reached the Top 10 twice in 1969, with "These Lonely Hands of Mine" and "She'll Be Hanging Around Somewhere."

Sales grew even stronger in the '70s, as Tillis sent a series of singles - "Neon Rose," "Midnight, Me and the Blues," "Stomp Them Grapes," "Memory Maker" and "Woman in the Back of My Mind" - into the Top 5, most of them released by MGM Records. All of this led to his selection as CMA Entertainer of the Year, his induction into the Nashville Songwriters International Hall of Fame and a contract with MCA Nashville in 1976, after which he scored a succession of No. 1 hits that included "Good Woman Blues," "Heart Healer," "I Believe in You" and "Coca Cola Cowboy." He ended the decade by signing with Elektra Records in 1979, with whom he once again topped the singles charts, this time with "Southern Rains" in 1981.

While maintaining his momentum as a songwriter, with hits that included "Honey (Open That Door)," a No. 1 single for Ricky Skaggs, Tillis has also continued to record successfully since the 1980s. In 1993 he released his first gospel album, Beyond the Sunset, and in 1998 he took part in a two-album set as a member of The Old Dogs, an all-star assembly that included Bobby Bare, Waylon Jennings and Jerry Reed; this collection of Shel Silverstein tunes earned a nomination for CMA Vocal Event of the Year. In 1999, BMI named Tillis "Songwriter of the Decade" for two decades. He was named Golden Voice Entertainer of the Year in 2001, the same year he received the Golden R.O.P.E. Songwriter Award.

Tillis has distinguished himself as an actor, beginning with an appearance on "Love, American Style" in 1973. Other TV series appearances included "Nashville 99" (1977), "The Dukes of Hazzard" (1979), "The Tim Conway Show" (1980) and "Love Boat" (1983). He also co-hosted "Mel and Susan Together," an ABC series that paired him with Susan Anton in 1978, and acted in made-for-television movies that included "Skinflint,""A Country Christmas Carol" (1979), "The Stockers" (1981) and "Bandit: Bandit Goes Country" (1994). His movie credits include "W. W. and the Dixie Dancekings" (1975), "The Villain" (1977), "Every Which Way But Loose" (1979), "Smokey and the Bandit II," "Cannonball Run" (1980), "Cannonball Run II" (1984) and "Uphill All the Way" (1986). Tillis also debuted as an author in the late '80s, with his autobiography, Stutterin' Boy.

In 2002, Tillis sold his theater in Branson, Mo., where he had performed more than 4,000 shows, and returned home to Florida. When not on the road, giving approximately 100 concerts each year with his band The Statesiders, he enjoys painting, fishing, gardening, cooking and attending ballgames at the University of Florida. Blessed with six children and six grandchildren, he was inducted by his daughter, Country Music vocalist Pam Tillis, into the cast of the Grand Ole Opry in June 2007. In 2002, they recorded together on "Come On and Sing," the last track of It's All Relative: Tillis Sings Tillis, Pam's tribute album to her father.

   

Images for above article.

 

 

 
 
2007 Country Music Hall of Fame Inductees Vince Gill, Ralph Emery and Mel Tillis during the press conference of the announcement of the 2007 Country Music Hall of Fame inductees on Tuesday, Aug. 7 at the Country Music Hall of Fame and Museum in Downtown Nashville.
Photo: John Russell / CMA

 

Ralph Emery, Mel Tillis and Vince Gill are announced as the newest inductees of the Country Music Hall of Fame at a press conference today at the Country Music Hall of Fame and Museum. (l-r) Tillis; Gill; and Emery.
Photo: John Russell / CMA

 

Ralph Emery, Mel Tillis and Vince Gill are announced as the newest inductees of the Country Music Hall of Fame at a press conference today at the Country Music Hall of Fame and Museum. (l-r) Nashville Mayor Bill Purcell; Brenda Lee; Gill; Barbara Mandrell; Country Music Hall of Fame and Museum Director Kyle Young; Emery; CMA Chief Operating Officer Tammy Genovese; and Tillis.
Photo: John Russell / CMA

 

 

 

Issue Date: 9/4/2007  
bulletMusic Without Boundaries: Country Artists Find Worldwide Success
bulletNEW ARTIST SPOTLIGHT: Cole Deggs & The Lonesome
bulletNEW ARTIST SPOTLIGHT: Beverley Mitchell
Music Without Boundaries: Country Artists Find Worldwide Success
By Deborah Evans Price

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

The appeal of Country Music extends far beyond U.S. borders, so savvy artists realize the value of developing a fan base abroad. Penetrating foreign territories takes time and commitment, but for acts that have guitar (or keyboards, drums, etc.) and will travel, the payoff can be substantial.

Curb Records' the Bellamy Brothers, who received the 2002 CMA International Artist Achievement Award, are among the most successful Country acts touring overseas, with two European tours slated for this year.

"International touring is a big part of our career," said David Bellamy. "The first time we went to Europe we got a call from Warner Bros., and they said, 'You guys have a hit in Holland!' By the time we started going over there in 1976 'Let Your Love Flow' was rocking. It peaked at No. 1 in Germany for eight weeks. Since then we've done 50 tours."

For the past 12 years, the Bellamys have been represented overseas by Judy Seale, President of Nashville-based Judy Seale International. Seale began working in the international market during her early days with the Jim Halsey Company.

"Jim was a pioneer in getting Country Music overseas," Seale said. "He introduced me to it and gave me a promotion to VP of International. The very first tour was with Brenda Lee. We went to Japan for three weeks. It was a great learning experience and I started making contacts."

One of Seale's most fruitful relationships started with a fax sent to CMA from a Country Music enthusiast in Japan. A friend at CMA encouraged her to meet with promoter Charlie Nagatani, and Japan's Country Gold music festival was born.

"He got a grant from the government and we had a Country Music festival in Japan," Seale recalled. "It was back in '89 and we had 10,000 people show up. Now we have between 20,000 and 30,000 people a year. Charlie sends out 5,000 hand-written cards twice a year to the people who had been before. He tells them who is going to be there, and then he'll send them tickets and say, 'Can you sell these tickets?' It's the personal relationship that gets people out there."

Last year, Seale worked with 27 different festivals, including events in Austria, Denmark, England, France, Germany, Greece, Holland, Japan, Sweden, Switzerland and Wales. But Norway, she insisted, is a particularly good market for Country Music.

"There's a festival every weekend, and they turn them into camping events," said Seale, who has had her own company since 2001, and has won CMA's Jo Walker-Meador International Award and the CMA International Talent Buyer/Promoter of the Year Award.

Craponne, France, and Gstaad, Switzerland are home to two of Country Music's biggest festivals. Both are handled by Trisha Walker-Cunningham, head of Nashville-based Trisha Walker International.

"We are in our 19th year in Gstaad and already have the most stellar lineup," enthused Walker-Cunningham, citing Riders in the Sky, Julie Roberts, Randy Travis and Rhonda Vincent. "I co-founded the festival with promoter Marcel Bach, who has won the International Talent Buyer/Promoter of the Year Award twice from CMA."

Walker-Cunningham was born in Singapore and raised in Cypress before moving to England at age 11. Nearly three decades ago, she came to Nashville with $500 and a suitcase full of clothes. That vacation turned to full-time residency. She became the first recipient of CMA's Jo Walker-Meador International Award in addition to receiving honors from two Tennessee governors and two Nashville mayors and having Jan. 5, 1989 designated "Trisha Walker Day" in Nashville.

"So much has changed in the last 10 years," she said. "Icons like Willie Nelson, Dolly Parton, Kenny Rogers and Don Williams can tour over there as long as they want because European fans are very loyal."

Newer acts can build their fan bases in foreign as well as American markets simultaneously, in part through radio and TV exposure from festivals such as Craponne's Festival Country Rendevous and Gstaad but also through recording duets with popular artists in their home countries.

For example, the Bellamys guested on two tracks from Here I Am, the latest album by Danish Country singer Wenche (pronounced Winke) Hartmann, including their Parton duet "If I Said You Had a Beautiful Body (Would You Hold It Against Me)" and "You're the World," which David Bellamy co-wrote with his son Jesse.

Trisha Yearwood embarked on a similar project, after Walker-Cunningham brought her together with Australian Country star Lee Kernaghan, the 2003 CMA Global Country Artist Award winner. Proceeds from their collaboration were donated to farmers battling drought, though Yearwood also benefited from her greater exposure in the Australian market.

"And two years ago," Walker-Cunningham added, "LeAnn Rimes recorded a song with Ronan Keating and it went No. 1 in the UK and the Top 5 in most European countries. LeAnn has a name, but that No. 1 with Ronan broke her to the point where she now has an album on the British charts."

Seale cited the Bellamys as a shining example of how to have a successful global career and still perform around 200 dates in the United States. "I could book them every night of the week," Seale said. "They went to Europe in 1976 when they had their first hit and they went back every year."

Bellamy added that going into foreign territories and building relationships is important. "'Let Your Love Flow' gave us the foundation we needed, and because of that, Switzerland really doesn't look at us like an American act. We've played there so much, we're practically local." Seale said BR5-49, Kenny Rogers, Marty Stuart and Dwight Yoakam are among the acts that continue to draw crowds around the world. For those artists who do play internationally, there's more money to be made in CD and merchandise sales.

"They usually do well," Seale said. "Ninety percent of the festivals don't charge a commission for bringing the product in because you already have to pay to ship it and pay duty when you bring it in. So everything you make is yours."

Seale said new areas are continually opening up, including China, where a group of sponsors, with support from CMA, maintain a booth at the China Home Entertainment Center, a sprawling permanent exhibition in the port city of Guangzhou, formerly Canton.

"We are promoting Country Music and the state of Tennessee," said Seale, who also volunteers her time to take artists on trips to support the U.S military. She did 10 military tours last year, citing Charlie Daniels, Aaron Tippin and Chely Wright as some of the most supportive artists.

Seale encourages Country newcomers to travel overseas. "If they would just take two weeks out of their lives and go over there and build a marketplace, then in the long run, those people will be fans for life."
 

   

Images for above article.

 

 

 
 
Judy Seale, President of Judy Seale International photo: courtesy of Judy Seale
Photo: See Caption

 

LeAnn Rimes, Ronan Keating and Trisha Walker-Cunningham at the Gstaad Festival in 2004. photo: courtesy of Trisha Walker-Cunningham
Photo: See Caption

 

Blue County rocks Japan's Country Music Festival, Country Gold, in 2004. photo: Liz Cavanaugh
Photo: See Caption

 

 

NEW ARTIST SPOTLIGHT: Cole Deggs & The Lonesome
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

There's a special kind of energy that comes from band projects, and Cole Deggs & The Lonesome have it.

The key seems to be in the way every part of their music fits together, as if hammered into place by the ambition that drove them to showcase successfully for Sony BMG less than two days after their first rehearsal.

That seamlessness flows through their self-titled debut on Columbia Nashville, but pay special attention to the first single, "I Got More," which begins with acoustic guitar cooling the groove, like a breeze at sundown after a steamy day. A quavering electric piano adds muscle to the mix, and then a wall of strong voices rises on the soulful chorus.

This is modern Country, done to perfection by five guys who play like brothers. It's no surprise, then, that the group includes two pairs of siblings, with singer Cole and bassist Shade Deggs, born and raised in Lake Jackson, Texas, sharing the front line with lead guitarist David and keyboardist Jimmy Wallace, from Shreveport, La. Brian Hayes, the official "honorary brother" and a native of Clearwater, Fla., rounds it out on drums.

All five members brought ample experience to the band: Shade co-founded and performed with Honeybrowne, Jimmy toured and tracked with blues/rock guitar whiz Kenny Wayne Shepherd, David worked on the competitive club scene along Bourbon Street in New Orleans and Cole, who shares credit on four of the songs on the new CD, got his break as a writer by penning Kenny Chesney's "Live Those Songs Again." Brian hit the road just out of high school and was an in-demand drummer.

The single "I Got More," is the handiwork of Jim Collins and Rivers Rutherford, with Rutherford also signing on to co-produce Cole Deggs & The Lonesome with Mark Wright. Not surprisingly, the sound matches the spirit of the song, with an often rugged and raw quality that seems tailored to the stage but slams on disc as well.

IN THEIR OWN WORDS:
Who is your musical hero?
COLE: "Merle Haggard."
DAVID: "John Mellencamp."
JIMMY: "Billy Preston."
SHADE: "Kris Kristofferson."

What book is on your nightstand?
BRIAN: "Dirt Rider magazine."
COLE: "A dictionary."
JIMMY: "London Bridges, by James Patterson."
SHADE: "Ghostwritten, by David Mitchell."

On the Web: www.myspace.com/coledeggsandthelonesome

   

Images for above article.

 
     
Cole Deggs & The Lonesome photo: Eric Beggs
Photo: See Caption

 

     

NEW ARTIST SPOTLIGHT: Beverley Mitchell
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Though Beverley Mitchell has enjoyed an 11-year run on the popular TV show "7th Heaven," her talents as a Country singer have been less established - until now.

With the release of her self-titled debut on ROM/Daywind/Quarterback Records, Mitchell shows a way with a tune that's comparable to her level of work on The CW Network hit series along with various other TV and film appearances. Admittedly, she got an earlier start as an actor, beginning at age 4 as the star in an Oscar Meyer commercial. She was already a veteran by the time she won the role of Lucy Camden on "7th Heaven," having starred in made-for-TV movies "White Dwarf," "Mother of the Bride" and "Sinatra" and had guest-starring roles on "Baywatch" and "Melrose Place."

The film world has also opened to Mitchell, whose appearances in "The Crow: City of Angels" and "Saw II" inspired the site allmovie.com to praise her as "gifted," "charismatic" and "dazzling." But Country Music never stopped singing in her soul. Inspired by Garth Brooks, The Eagles and Reba McEntire, she booked trips to Nashville during breaks in her acting schedule for creative sessions with Greg Becker, D. Scott Miller, Jim Weatherly and other successful songwriters.

As a result, when the time came to start recording her debut, Mitchell had assembled a strong enough catalog to share credit for seven of its 14 tracks. Her first single, "Heaven on Earth Down Here," is a slow power ballad, with plenty of room for Mitchell to hit the high spots on the chorus and leave an impression that she has as much of a future behind the microphone as she does before the camera.

IN HER OWN WORDS:
Who is your dream duet partner?
"Garth Brooks."

Who is your musical hero?
"Reba McEntire."

What CD is on your stereo?
"Sugarland's Enjoy the Ride."

If you wrote an autobiography, what would the title be?
"Dreams Do Come True."

What song do you wish you had written?
"'When You Say Nothing at All,' my favorite song."

What actor would portray you in a biopic about your life?
"Hopefully me."

What moment in your life would you relive if you could?
"Nothing. I love my life. Everything has made me who I am."

On the Web: www.thebeverleymitchell.com

   

Images for above article.

 
     
Beverley Mitchell photo: Brett Williams
Photo: See Caption

 

 

 

Issue Date: 8/28/2007  
bulletPhotographer Jim McGuire Shoots the Stars of Country Music
bulletUnique and Compelling: The Story Behind the Lyric Street Phenomenom
bulletNEW ARTIST SPOTLIGHT: The Infamous Stringdusters
Photographer Jim McGuire Shoots the Stars of Country Music
By Melissa Coker

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Despite his protests, Jim McGuire just might be lauded by lovers of the visual and musical arts as one of the finest portrait photographers in the business. The proof is in Nashville's Frist Center for the Visual Arts, where many of McGuire's best-known portraits of Country performers are on display through Sept. 9. Yet McGuire - until recently, at least - often waved off this sort of praise, demurring that he began taking these pictures "just for fun."

"I've grown up with Country Music," he said. "I've always been a fan. I can't remember what I had for lunch yesterday, but I can still remember the smell of the room I was standing in when I first heard Hank Snow sing 'Spanish Fireball.' I was a 12-year-old Boy Scout when I fell under the spell of his hypnotic guitar rhythms and that velvety voice coming out of that ratty loudspeaker. And just as he wrote 'I played the part and gave my heart to that Spanish fireball,' my love of Country Music started that day and has never left."

That day was in 1953, and while his love for this music would change his life in years to come, another passion left its impact first. In 1961, having survived high school and college, the Pennington, N.J., native landed in the U.S. Air Force. Shipped off to Vietnam in 1964, he was put to work as a military photographer, taking aerial photos and snapshots of conflicts involving American troops. His headquarters was a makeshift tent, which he transformed into a darkroom.

"It was actually a wonderful experience," he said. "I would not trade it as it was the first time I felt myself being able to 'see' things."

By the time of his honorable discharge, McGuire knew he would pursue photography full-time. He returned to New York for a three-year run as assistant to fashion photographer John Foote, from whom he learned how to print and take black-and-white portraits, among other skills. Foote introduced him to Irving Penn, whose "Small Trades" portraits exerted a powerful influence by finding something extraordinary in its depictions of "ordinary" people in their work clothes.

Music, though, drew McGuire to Nashville in 1972. "I moved here to produce albums," he confessed. "And I did produce two dobro albums by a fellow named Mike Aldridge. But along the way, this [photography career] just kind of happened. I made a living shooting album covers. I just wanted to hang out with some of these musicians that I admired. It took about 15 to 20 years until I realized that these 30 to 35 years worth of portraits are historic in a lot of ways."

A stroll through the "Jim McGuire: The Nashville Portraits" exhibit at the Frist makes these clear. Among the images that duel for attention are a dolled-up Dolly Parton; a striking shot of Johnny Cash with Billy Graham; a "what are you looking at?" glare from Chet Atkins; Carole King, clad in overalls; a classic image of Harlan Howard; and a couple of carefree captures of Benny Martin, who worked alongside Bill Monroe , Hank Williams and other legends.

A different take on today's image of Vince Gill, snapped in 1985, might evoke the "Grease"-era John Travolta. A mysterious Jack Ingram, pre-Big Machine Records, is included with a very much un-cowboy hat. Dr. Ralph Stanley and his banjo, Waylon Jennings, Kris Kristofferson, Rosanne Cash with Rodney Crowell, George Strait and other greats appear happily at home. And Tammy Wynette, with her widespread dress, seems to have found her wings.

"Jim made his living doing album covers and commercial work," said Katie Delmez, Associate Curator at the Frist. "But in these shots we're seeing the artists more purely, almost stripped down to the basics. The fact that he's using black-and-white photography also takes away some of the smoothness of the more commercial images. They're more raw, immediate and direct. To me, they seem to really be themselves."

By restricting himself to black-and-white format, McGuire was able to bring out the "color" in each of his subjects. For the same reason, he chose uniformity in his setting, positioning the artist before the same canvas backdrop, which he had painted a neutral gray in 1969. The fact that these sessions often occurred right after McGuire had done a color shoot for an album cover or publicity photos only makes the contrast between his art and commercial work more striking.

"After the commissioned photo shoot, Jim would ask the artists - many of whom are his close friends - to stand or sit in front of this canvas," Delmez observed. "The only accessory might be their musical instrument. That shot of Bill Monroe cradling his mandolin, for example, is so moving. He was obviously such a passionate artist, someone who felt so strongly about his craft, and I think McGuire captured that dedication beautifully in the way Monroe almost seems to be lovingly kissing his mandolin. That purity of emotion makes these images come alive for me."

McGuire has particular attachment to some of the portraits in the exhibition. The one that depicts John Hartford leaning over his banjo is one of his favorites because it was among the earliest to actually turn out.

"It was one of the first times I shot before that canvas," he remembered. "It was a nice moment too, where he was within himself, playing his banjo and not looking at the camera."

Second on the list would be Marty Robbins, who McGuire listened to throughout high school. And that Monroe image has special meaning too: "Someone told me that Bill Monroe had that portrait up on his wall."

"The bigger the star, the easier they seem to be to work with," McGuire added. "Marty Robbins, for example, was especially friendly. And when artists aren't onstage, it seems like that's when their guard is down. They're alone. They're not 'on.' So it's an honest image. And I always try to make them comfortable. I talk to them, put a guitar in their hand, whatever they need. I encourage them to bring their instruments - or their dogs. Whatever they show up with is fine with me."

Organized by Kevin Grogan, Director of the Morris Museum of Art in Augusta, Ga., who was Director at Nashville's Cheekwood Museum of Art when McGuire held his first exhibition there in 1981, this nationally traveling exhibition of 60 portraits will hang at the Frist first through Sept. 9; other viewings will be announced in the months to come. A Nashville Portraits book is set for release in October.

On the Web: www.nashvilleportraits.com, www.fristcenter.org

   

Images for above article.

 

 

 

 
Jim McGuire; Photographer: Mark Tucker
Photo: See Caption

 

Bill Monroe (1989); Photographer: Jim McGuire
Photo: See Caption

 

Dolly Parton (1974); Photographer: Jim McGuire
Photo: See Caption

 

Johnny Cash and Billy Graham (1978); Photographer: Jim McGuire
Photo: See Caption

 

Unique and Compelling: The Story Behind the Lyric Street Phenomenom
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Lyric Street Records makes no secret of a short but revealing phrase that has guided it toward success over these past 10 years. Its essence lies in these simple words: unique and compelling.

The words crop up a lot in the conversations of Randy Goodman and Doug Howard, President and Senior VP of A&R respectively of Lyric Street. The label's 20 employees take them everywhere they go - literally, on cards tucked in their wallets and purses, in the unlikely event that anyone might forget the company mandate.

But this is only part of a larger formulation, the rest of which says just as much about why Lyric Street has elevated one act after another - Sarah Buxton, Bucky Covington, Josh Gracin, Marcel, Rascal Flatts, Lisa Shaffer, SHeDAISY, Trent Tomlinson - toward stardom.

"We want to sign artists who are unique and compelling, with unique and compelling songs that we can deliver to critical mass at Country radio," Goodman emphasized. "My job isn't to come in with something that's way too alternative and say, 'Country radio, you should be playing this.' My job is to build careers, sell records and create a sustaining base for Lyric Street Records."

Broken down, the Lyric Street mantra balances the pragmatic and the ideal. The two seem like oil and water: impossible to mix, at least until someone strikes the right match. That's when they ignite together, in a blaze of Platinum and Gold.

Since releasing its first album in 1998, Lyric Street has released 26 albums and sold nearly 20 million units.

Lyric Street is not the first Country subsidiary launched by a major parent company. But it stands alone now in what was once a crowded field, its identity enduring and intact. Talent and hard work have a lot to do with it. Investment helps too, but that $10 million that Disney pumped into opening Lyric Street a decade ago wasn't the first time a corporation poured ample funding into a startup.

Two more unusual factors play into this story, which began in a den at Goodman's home and culminated in June at a festive anniversary celebration at the Country Music Hall of Fame and Museum. The first traces back some 30 years, to when Goodman and Howard began their friendship as students at David Lipscomb University in Nashville.

"It was based from the get-go on our love for music," said Howard. "But the beauty of it is that we have different personalities and we would go on to have different experiences before the opportunity was right for us to begin our business relationship."

For Howard, those experiences took him to Belmont University, from where his song-based perspective led him to a position with Welk Music. As the publishing company morphed into PolyGram Music, Howard rose to the position of GM even as he returned to academics to earn a law degree from Vanderbilt University.

Goodman, meanwhile, emerged from Lipscomb with a degree in political science and economics, earned a music business degree at Belmont and then toured with a rock band as road manager. After a year and a half he traded the wanderer's life for a publicity gig at RCA Records, where he rose rapidly in the New York and Nashville offices.

He was Senior VP and GM in Nashville, working closely with RCA Label Group Nashville Chairman Joe Galante, when Disney offered him the reins of Lyric Street. Though he valued his 18-year run at RCA, Goodman took the gig.

"How many times in your career will the second largest media company in the world ask you to start a company for them?" he explained. "When I began to sit with that notion, I felt that if I didn't do it, I would regret it for the rest of my life."

His first step was to call Howard. Their achievements in the music business, on the record and publishing sides, gave the operation balance right from the start. And their personal ties invested the company's culture with the tolerance for candor and team spirit that drives it to this day.

"We all wear as many hats as we can," Goodman said. "I'll never forget, when we were setting up SHeDAISY, we decided to send out these film canisters with candy you could get at a movie theater. It was eight o'clock at night, and Doug, Greg [McCarn, VP Marketing], Kevin [Herring, VP National Promotion] and I worked at this long table until we could get those canisters out. That's still the spirit at Lyric Street. If a phone is ringing and somebody is walking by, they'll stop and answer it. That's a blessing."

With very few staff changes, aside from four positions added to the original 16, this stability and familiarity goes further at explaining the company's high batting average. But the picture isn't complete without that second and last ingredient.

"We got lucky too," Goodman admitted. "I can't stress that enough. But that wouldn't have been enough without everything else. We try to be smart. We work hard. We keep our overhead low by having a focused roster and having everyone wear as many hats as they can. And in the end, with all the right people onboard, I never looked back. I knew we were going to make this happen."

On the Web: www.hollywoodrecords.go.com/lyricstreetrecords

   

Images for above article.

 

 
   
Randy Goodman, President, Lyric Street Records; Photographer: Glenn Sweitzer
Photo: See Caption

 

Lyric Street Records Staff. (front) Heather Conley, Marketing Director; Greg McCarn, VP Marketing; Kirk Boyer, Senior Director, A&R; Cindy Heath, Publicity Director; Renee Leymon, Senior Director, National Promotion; (back) Robin Gordon, Senior Manager, A&R Administration; Paula Eden, Executive Assistant; Dale Turner, VP, Promotion Administration; Kris Lamb, Promotion Coordinator; Kevin Herring, VP, National Promotions; Tonya Stroud, A&R Coordinator; Teresa Vinson, Senior Manager, Artist and Label Relations; Randy Goodman, President; Ashley Heron, Senior Manager, Marketing; Chris Palmer, Director, Regional Promotion/Northeast; Doug Howard, Senior VP, A&R. Photographer: Glenn Sweitzer
Photo: See Caption

 

   

 

NEW ARTIST SPOTLIGHT: The Infamous Stringdusters
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Traditional music is a tradition in this deft and daring band. Dobro wizard Andy Hall's résumé includes work with Charlie Daniels, Dolly Parton and Earl Scruggs. Guitarist Chris Eldridge studied with Tony Rice, and banjoist Chris Pandolfi with Tony Trischka. It was also a family affair for Eldridge, who grew up on the road with his dad's band, the Seldom Scene, and Jeremy Garrett, who learned the fiddler's art while touring with his father in The Grasshoppers.

And each of The Infamous Stringdusters boasts ample stage experience, with bassist Travis Book laying the foundation of the band Broke Mountain, Jesse Cobb tearing it up on mandolin behind Jim Lauderdale and Lee Ann Womack, and the rest seasoned through gigs with Bering Strait, Bobby Osborne and other luminaries.

Their professionalism, tempered by deep feeling for the music and animated by youthful exuberance, resonates throughout Fork in the Road. "Dream of You" rides an express train straight for the heart of bluegrass, with phenomenal articulation from Cobb and Pandolfi. After this track, they offer "Moon Man," whose rhythmic twists help bring this current to a boil beneath the heat of Garrett's solo.

A sound that blends echoes and more adventurous extensions of the rustic past unfolds throughout their Sugar Hill Records debut. This broad range has won them respect, from the International Bluegrass Music Association's World of Bluegrass Show to chic settings such as New York's Rodeo Bar and Boston's Passim. All of which suggests that there's nothing "infamous" about these guys at all - "amazing" and "unforgettable" come a little closer to the truth.

IN THEIR OWN WORDS:

Who is your musical hero?
GARRETT: "Although I have many, my biggest musical hero is my dad. We have traveled literally thousands of miles together to play music and I could not begin to count all the songs we have played. Through it all he has taught me a lot about music and of course many other things."

PANDOLFI: "Béla Fleck inspired me to play banjo. There is no end to his creativity and musicality."

Which song would you secretly love to cover?
COBB: "'On the Road Again' by Bob Seger. I always thought it would make a great acoustic song, and almost everyone at one point in their lives can relate to it."

What CD is in your stereo?
ELDRIDGE: "Sky Blue Sky by Wilco. It's awesome."

Who is your dream duet partner?
HALL: "Tim O'Brien. And I may get my wish pretty soon."

What song do you wish you had written?
BOOK: "'Gentle on My Mind,' by John Hartford. It's one of my absolute favorites. The first time I heard it, Benny Galloway, one of my mentors, brought it to a band we were in and I was stunned.  It's so simple, beautiful, melodic and the message is clear."

What book is on your nightstand?
HALL: "'The Power of Now.' It's an amazing book that you can use like a guide in everyday life."

What do you sing in the shower?
HALL: "In the shower I've been rocking 'Hey Jude' quite a bit.  And the occasional Stringdusters tune." 

What word or phrase do you find yourself saying over and over again?
COBB: "'Git!' Git is probably the most used term in the whole band. Literally taken as, 'Get away from me.' It's usually used in a friendly manner but not always." 

What mode of transportation do you prefer?
COBB: "Ground. I love to drive to and from gigs, take in the scenery and such. You miss out on so much when you fly."

What actor would portray you in a biopic about your life?
PANDOLFI: "Jim Carrey. I think he might be an inch or two taller than I am, but Hollywood can fix that no problem."

On the Web: www.infamousstringdusters.com

   

Images for above article.

 
     
The Infamous Stringdusters; Sugar Hill Records
Photo: Kristin Barlowe

 

 

Issue Date: 8/21/2007  
bulletA Woman's Touch: Country's Female Producers Rise to the Top
bulletNEW ARTIST SPOTLIGHT: Lori McKenna
bulletNEW ARTIST SPOTLIGHT: Luke Bryan
A Woman's Touch: Country's Female Producers Rise to the Top
By Holly Gleason

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

In hip-hop, there's Missy Elliot. In pop, there's Linda Perry. Both are formidable female producers that artists flock to in hopes of scoring a hit. In the past year, Country Music has seen Alan Jackson and Toby Keith, two genre-defining current superstars - enlist women to marshal in new colors to their palette with Alison Krauss and Lari White respectively assuming the producer's mantle.

The question that faces artists who opt to work with a woman at the console is this: Aside from their individual talents, do female producers bring something different to the creative table by virtue of their gender? CMA Close Up sought the answer by bringing together three successful female Country producers - hit songwriter Victoria Shaw, who is currently working with up-and coming Nashville trio Lady Antebellum; critically acclaimed Southern California artist/writer Wendy Waldman, a veteran producer whose credits include albums by Matraca Berg, Suzy Bogguss, the Forester Sisters and New Grass Revival; and multi-dimensional songwriter/artist White - and inviting them to talk about what a woman knows. Ironically, the one thing that seemed to be universal was the notion that gender wasn't as much a factor as one might think.

What advantage does being a woman give you?
Shaw:
"Honestly, my biggest advantage is not being a woman but being a songwriter whose hits were sung by men. As for the fact that the biggest demographic in Country Music happens to be women over 30, well, I have a little more experience in that then any male producer out there."
Waldman: "Girls are taught, more than boys, to respect their intuition, to pay attention to their feelings and the subtler messages that go on between people. This is a foundation in how we raise children. So we are encouraged to rely on our instincts, to read people's moods, to hear what isn't necessarily being said; it's the natural lesson for women."
White: "I approach the studio like my house: I make sure everybody's fed really well and they're comfortable. Our studio is right by our house and we built it like a home studio, so it feels like that - except it's big enough for a whole band. In that kind of environment, I think people feel more open about throwing out an idea or trying something that doesn't work."

Was that a reason why your clients hired you to produce for them?
Waldman:
"Men are still not encouraged to go to those deeper levels in interactions with people. In most cases, they're taught to ignore feelings and push on through to get the job done, where a woman in the studio will read the artist, sense his or her turmoil probably a little faster than most guys. A majority of women will tend to be able to nurture an artist better, since that's what we're equipped to do. Many artists try to mask their fear and their fragility, so unless you're really intuitive, you can miss that entirely. This can severely impact the entire record, because a frightened, or distracted, or privately worried artist will not be able to give his or her best performance. That's a major difference."
White: "For Toby, I know absolutely it was for shock value, but in the end, he'd never have done a whole album if something wasn't working - and it was like cutting butter, it was so fun and easy! The thing I do best is work with singers, because I know what's important and I speak their language. So it's easier for me to coax someone into staying with it beyond the few vocal passes to get something magical. As far as making music in general, I believe mostly in the joy of it. Toby said he'd not had that much fun making a record in a long time. That's why I try to create a place where it's really 'playing' music . a high play factor and a lot of love."

What are you looking to bring out in the song and in the artist?
Shaw: "I think I approach it a lot differently than most people. Physically, I can explain how to hit every note, every line. I am a singer, and there's a big difference when you're producing vocals. I've been working with and developing an extremely talented singer/songwriter named Hillary Scott; though she's always had an amazing instrument, I take a lot of pride in helping her discover her 'chops.'"
Waldman: "For me, everything is built from the artist out, as opposed to from the track in. A tremendous amount of thought should go into the way the artist's vocal and performances are captured; the great risk here is actually over-producing and losing the focus on the singer."

How much does gender play in realizing songs or performances?
Shaw:
"One of the reasons I've been so successful as a songwriter is that I bring a woman's perspective. I've always had a knack for writing songs for men to sing that women want to hear. I've always been able to get inside the head of whatever gender I'm working with."
White: "I respond to sexy a lot, especially with ballads. It's probably different with a guy producing a guy. I'm free to go, 'Oh, that is so hot!' I can recognize that, encourage it, so there's an element of romance on the Toby record that was part of my package."

What does being a woman free you from in the studio?
Shaw:
"Free me from? I never really thought about that, but since there are so few role models for woman producers, I guess that gives me a clearer path to just be me."
Waldman: "Being female allows me to step around the contention that occasionally goes on between men and can be quite serious, though it might appear as a quiet undercurrent. It's a quiet power struggle in any number of areas. The only thing a producer should ever worry about is how well you feel a groove, the mood of the artist, or where the whole package is going."
White: "I don't have to tell dirty jokes to break the ice. Beyond that, it's all the same. I have the technical knowledge to write charts and talk about mechanics and sonics, but I mostly just love players and artists and songs. Producing is a great way to share the love."

What constitutes a successful production? What do you hope to realize?
Shaw:
"When the song and singer stand out, not the production. I'm so tired of great productions on mediocre songs."
Waldman: "I want what every producer wants. I hope to make records that reflect the truth of the artist or band, that help them move people. Patience is the most important quality a producer needs, and the older I've gotten, the more patient I find myself. Also, I'm not as afraid to make mistakes, to go back and start something over if it's not working. I want things to be simpler, more elegant, more powerful and not as cluttered. If only I could get my closets to do that!"

   

Images for above article.

 

 

 
 
Lari White; Photographer: Leslie Bohm
 
Victoria Shaw; Photographer: Peter Nash
 
Wendy Waldman; Photographer: Michael Boshears
 
 

NEW ARTIST SPOTLIGHT: Lori McKenna
By Bob Doershuck

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

To music insiders, Lori McKenna isn't an unknown quantity. Songwriters and performers have long lauded her knack for infusing an Americana feel with artful intelligence - a blend that places her somewhere between the intimacies of the Boston coffeehouses she once played and the more distant horizons of her imagination. Faith Hill, among others, recognized her gifts early and turned one of McKenna's songs, "Stealing Kisses," into a hit single from her chart-topping Fireflies album.

This year, however, marks McKenna's major label debut as an artist with Unglamorous, released Aug. 14 on Warner Bros. Records/Stylesonic Records. Its homespun lyricism transforms family life into poetry, and its sound marries co-producers Byron Gallimore's and Tim McGraw's sure-fire Country sensibilities to McKenna's alt-folk/rock aesthetic. Call it what you will: It's a winner.

In fact, McKenna has been making music of this caliber and documenting it on disc since 1998, when the Boston Globe included her independent debut, Paper Wings and Halo, on its selection of the year's Top 10 albums. Her writing draws from sources as diverse as traditional American folk, The Cure, Carole King, Alanis Morissette and James Taylor, the common denominators being taste, creativity and originality. What results is a narrative style that is unique to McKenna and a knack for melody and structure that earned her an Abe Olman Scholarship from ASCAP and the Songwriters Hall of Fame in 2004.

Despite her emergence into the spotlight courtesy of Warner Bros., McKenna remains close to her roots. She still lives in the Boston area home where she and her longtime husband Gene, a plumber, continue to raise their five children, though in early June she left the neighborhood to perform on this summer's Tim McGraw/Faith Hill "Soul2Soul" extravaganza.

IN HER OWN WORDS:
Who is your musical hero?

"Bruce Springsteen."

What CD is on your stereo?
"Tim McGraw's Let It Go."

What book is on your nightstand?
"The Giving Tree by Shel Silverstein."

What actor would portray you in a biopic about your life?
"Someone short."

Who is your dream duet partner?
"Levon Helm."

On the Web: www.lorimckenna.com
 

   

Images for above article.

 
     
Lori McKenna; Warner Bros. Records; Photographer: Michael Wilson
 
     

NEW ARTIST SPOTLIGHT: Luke Bryan
By Kristen Scherer

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Luke Bryan comes by his Country-as-cornbread credentials honestly.

Growing up in rural Leesburg, Ga., the young singer/songwriter spent a good deal of his time farming peanuts, corn and cotton on surrounding farms and helping his dad in the fertilizer business. Country Music was everywhere, and Bryan grew up on a steady diet of Alan Jackson, George Strait, Conway Twitty and Hank Williams Jr. His dad bought him an Alvarez guitar and was soon taking him to Skinner's, a local watering hole, to let the youngster display his already-impressive vocal and guitar chops with local bands.

After high school, Bryan seemed destined for a Country Music career when tragedy struck the family. Just as the singer was preparing to leave for Nashville, the news came that his older brother Chris had been killed in an auto accident. Devastated, Bryan resolved to put aside his plans, enrolled in Georgia Southern University and after graduation, took a "real job" in the area at his father's agriculture business, to stay close to his family.

Finally, with his family's encouragement, Bryan moved to Music City in September 2001, secured a publishing deal with hit songwriter Roger Murrah's company and began writing the songs that would lead to a contract with Capitol Records Nashville.

Bryan co-wrote all 11 tracks on his self-titled debut released on Aug. 14, which was produced by Jeff Stevens, and includes debut single, "All My Friends Say," written with Stevens and Lonnie Wilson.

"I'm glad I waited before moving to Nashville," Bryan said. "Not only am I a better writer and singer with more performing experience, but I've also lived a lot more. I'm ready."

IN HIS OWN WORDS:
Who is your musical hero?
"Randy Owen."

Which song would you secretly like to cover?
"'Single Thing in Mind' by Conway Twitty."

What song do you wish you had written?
"Earl Thomas Conley's 'Might Be What I'd Say.'"

What word or phrase do you find yourself saying over and over again?
"We'll get it handled."

Who is your dream duet partner?
"Dolly Parton."

On The Web: www.lukebryan.com

   

Images for above article.

 
     
Luke Bryan; Capitol Records Nashville; Photographer: Juan Pont Lezica
 

2007 CMA Awards Tickets Go on Sale Aug. 30

Prestigious Event Once Again Open to the Public

 

 -- "The 41st Annual CMA Awards" will be broadcast live on Wednesday, Nov. 7 (8:00-11:00 PM/ET) on the ABC Television Network from the Sommet Center in Nashville. And for the third consecutive year, the public will have the opportunity to purchase tickets to attend.
 

Tickets for the 2007 CMA Awards will be on sale to the public beginning Thursday, Aug. 30, at 10:00 AM/CT, and can be purchased by logging on to www.ticketmaster.com; calling (615) 255-9600; or in person at the Sommet Center box office, 501 Broadway (corner of Fifth Avenue and Broadway, in Nashville). Ticket prices begin at $164 (excluding applicable service/handling fees), with prices increasing depending on seating level.
 

"Having the public attend the CMA Awards adds an extra level of excitement to 'Country Music's Biggest Night,'" said Tammy Genovese, CMA Chief Operating Officer. "The enthusiasm of the fans mixed with the anticipation of the nominees creates an exciting evening for everyone."
 

Premiere Radio Networks is the official radio packager of the CMA Awards, including a stereo-radio simulcast of the gala event. American Airlines is the official airline of the 2007 CMA Awards. Chevy: The Official Ride of Country Music. Mary Kay(R) is the Official Beauty Sponsor. Additional promotional partners include Crisco(R), Gibson Guitar(R), and Greased Lightning(R) Cleaning Products.
 

Source: Country Music Association

 

Web site: http://www.cmaworld.com/
http://www.ticketmaster.com/
 

 

 

ABC's 'Good Morning America' and CMT to Air CMA Awards Nominations Live From New York City and Nashville Thursday, Aug. 30

Sara Evans to Announce CMA Awards Finalists Live on 'Good Morning America' From The GMA Studio in the Heart of New York City's Times Square

CMT Personalities Katie Cook and Lance Smith with Honky Tonk Heroes Montgomery Gentry and Rising Country Star Taylor Swift Complete The Announcements on a Special Edition of 'CMT Insider' in Nashville

CMA Broadcast Awards Finalists Announced by Montgomery Gentry and Swift Nominee Announcements Carried to Country Radio by Premiere Radio Networks

'The 41st Annual CMA Awards' Airs Live Nov. 7 on the ABC Television Network

The announcement of the final nominees for the 2007 CMA Awards will be carried live Thursday, Aug. 30, on network and cable television from the "Good Morning America" studios in the heart of New York City's Times Square on the ABC Television Network, and from the Sommet Center in Nashville on a special edition of CMT's "CMT Insider."

"The 41st Annual CMA Awards" will be broadcast live from the Sommet Center in Nashville Wednesday, Nov. 7 (8:00-11:00 PM ET/delayed PT) on ABC.

"Having 'Good Morning America' and 'CMT Insider' broadcast our CMA Awards final nominees live brings a heightened level of excitement to these highly- anticipated announcements," said CMA Chief Operating Officer Tammy Genovese. "These special broadcasts will allow fans across the nation to experience the same excitement our artists and industry feel as the names are announced for the first time by our hosts. It also demonstrates the enthusiasm of our network partner ABC, and the continued and valued support of "Good Morning America" and CMT."

"CMT is honored to once again partner with ABC and the CMA to announce this year's Awards nominees," said Brian Philips, Executive Vice President and General Manager, CMT. "Going live with this announcement signifies the importance of the CMA Award nominations in the music industry, and we're proud to deliver the news via our signature show, 'CMT Insider'."

The final nominees in select categories will be announced live on national television during "Good Morning America" with Sara Evans from the "Good Morning America" studios located in the heart of New York City's Times Square Thursday, Aug. 30 during the 8:30 AM/ET half-hour of the morning news program.

"I am thrilled to be involved in the upcoming CMA Award announcements," said Evans, "The CMA Awards hold a special place in my heart. The first award I ever received was the CMA Award for the 'Born to Fly' video and it is one of the most memorable times of my career."

Multi-Platinum Evans prepares to release her first Greatest Hits package on Oct. 9. The album is a culmination of her hits spanning her 10-year career, which has spawned three Top 5 singles and four No. 1 songs including "No Place That Far," "Born to Fly," "Suds in the Bucket," "A Real Fine Place to Start," and "I Could Not Ask For More" among others. Evans became a national household name and won the hearts of viewers across the country when she competed in the 2006 fall season of "Dancing with the Stars" on ABC. Currently, Evans is performing at stadium shows on Kenny Chesney's "Flip Flop Summer" tour. Her newest single, "As If," which she co-wrote with Hillary Lindsey and John Shanks, is climbing the Country singles charts.

Broadcasting live from Nashville, CMT's Katie Cook and Lance Smith will present exclusive coverage of the remaining 2007 CMA Awards nominee announcements in a special half-hour edition of "CMT Insider," premiering Thursday, Aug. 30 (10:00 AM/ET; 9:00 AM/CT) on CMT. The special will re-air on CMT immediately following the live broadcast at 10:30 AM/ET; and again at 1:00 PM/ET; and on Friday, Aug. 31 at 8:00 AM/ET and 1:30 PM/ET; and Saturday, Sept. 1 at 10:30 AM/ET. Footage from the nomination special will also be available immediately following the telecast on CMT's broadband channel, CMT LOADED at CMT.com.

Following the announcements on "Good Morning America," CMT will go live with two of the hottest and most innovative acts in Country Music today, boundary-busting Montgomery Gentry and Taylor Swift, as they reveal the remaining CMA Awards nominees. Following the nominations, Cook and Smith will interview nominees and examine the categories and evaluate the finalists.

"This day is always an exciting one for the industry," said Eddie Montgomery. "Every artist and every record label wants to be nominated for one of these prestigious Awards."

"But, more than that, we all want to win one or two" continued partner Troy Gentry with a wry laugh. "We're so glad that CMA, CMT and Premiere asked us to be a part of the nomination celebration and we're looking forward to the big Awards night."

"I'm so thrilled that the CMA asked me to help announce the nominees for the CMA Awards," said Swift. "I'm such a HUGE superfan, so I just can't believe I get to see all the names first!"

Widely considered as one of the most successful duos in Country Music history, Montgomery Gentry burst onto the scene in 1999, quickly becoming a multi-Platinum selling act. Awards and acclaim soon followed including the 2000 CMA Award for Vocal Duo of the Year. Their success grew with chart- topping hits including 11 Top 5 singles, with three reaching No. 1. Their most recent single, "Lucky Man," from their current album Some People Change, remained at the top of the Country singles chart for two weeks. They are currently on tour performing to sold-out crowds across the country. Their latest single, "What Do Ya Think About That" is rising up the Country Music charts.

Less than 10 months after her self-titled debut CD was released, Swift became the best-selling artist in Country Music. With more than 20 million MySpace streams and 350,000 friends, she has established herself as the first bona fide County star of the MySpace generation. She's had two Top 5 singles, a Platinum CD, and 39 weeks after its release, Taylor Swift reached the top of Billboard's Country Albums sales chart. In the past year, Taylor has taken her live show to more than a million fans, thanks to opening tour slots for Rascal Flatts, George Strait, Brad Paisley, Kenny Chesney, Tim McGraw and Faith Hill. As if that weren't enough, she's earned her place in the history books as the only female solo artist in Country Music history to write or co-write all of the songs on a Platinum-selling debut.

In addition to the nominee announcements, Montgomery Gentry and Swift will announce the finalists for the 2007 CMA Broadcast Personality and Radio Station of the Year in four categories (small, medium, large and major markets) as well as the finalists for the CMA National Broadcast Personality of the Year.

The audio announcement of the CMA Awards nominees and Broadcast Awards finalists will be available via StarGuide from CMA's official radio partner Premiere Radio Networks. Premiere has provided outstanding, radio coverage of the CMA Awards nominations for more than a decade.

As part of their comprehensive 2007 CMA Awards radio package, Premiere Radio Networks will offer coverage of the nominee announcements, a preview special, Red Carpet features, a live feed of the Awards gala and a backstage wrap up show. Any Country radio station interested in receiving the radio package, including the nominations feed, may contact Premiere Affiliate Relations at (818) 377-5300.

The announcements will be made at the Sommet Center with Genovese and other guests starting at 9:00 AM/CT. The venue will open at 8:00 AM/CT for invited media and members of the music industry to watch the televised announcements on "Good Morning America."

"The CMA Awards are 'Country Music's Biggest Night' and this is certainly going to be Country Music's biggest morning," Genovese said. "I can't imagine a more exciting way to kick off the CMA Awards season and the excitement leading up to 'The 41st Annual CMA Awards'."

The 2006 CMA Awards, held in Nashville during November Sweeps (Nov. 6), ranked behind only the Academy Awards, the Golden Globes and GRAMMY Awards during the 2006-2007 season for awards shows among total viewers. With "The 40th Annual CMA Awards," ABC won Monday evening in both total viewers (16.0 million) and adults 18-49 (5.4/13). According to Nielsen, research estimates that more than 30 million viewers watched all of part of the ceremony.

The CMA Awards nominees and winners are determined by the 6,000 industry professional members of CMA, which was the first trade organization formed to promote an individual genre of music in 1958. The first "CMA Awards Banquet and Show" was held in 1967. The following year, the CMA Awards were broadcast on NBC television for the first time -- making it the longest running, annual music awards program on network television. The show aired on NBC through 1971 and on the CBS Television Network from 1972 through 2005.

"The 41st Annual CMA Awards" is a production of the Country Music Association. Walter C. Miller is the Executive Produce; Robert Deaton is the Producer. Paul Miller is the Director. The special will be shot in high definition and broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

ABC News' "Good Morning America" is anchored by Diane Sawyer and Robin Roberts. Chris Cuomo is the news anchor and Sam Champion is the weather anchor. The morning news program airs live from 7:00-9:00 AM/EDT, Monday through Friday, on the ABC Television Network. Jim Murphy is the senior executive producer and Tom Cibrowski is the executive producer of ABC News' "Good Morning America."

CMT's weekly entertainment series CMT INSIDER, hosted by Katie Cook, gives viewers their fix of Country Music news plus broader topics from the entertainment world, including the latest in movies, music, fashion and sports. CMT INSIDER premieres every Saturday at 2:00 PM ET/PT on CMT. Lewis Bogach serves as Executive Producer.

Premiere Radio Networks is the official radio packager of the CMA Awards, including a stereo-radio simulcast of the gala event. American Airlines is the official airline of the 2007 CMA Awards. Chevy: The Official Ride of Country Music. Mary Kay(R) is the Official Beauty Sponsor. Additional promotional partners include Crisco(R), Gibson Guitar(R), and Greased Lightning(R) Cleaning Products.

Source: Country Music Association

 

 

Issue Date: 8/7/2007  
bulletBlake Shelton: Straight Talk on 'BS'
bulletCharlie Louvin: Still Running Wild
Blake Shelton: Straight Talk on 'BS'
By Melissa Coker

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Blake Shelton is pure Country - and that's no bull.

But he's more than that. He's a giver too - of advice to those who seek it, a good time to audiences who line up for it, and his time to those in serious need.

Most recently this has meant helping his fellow Oklahomans restore their land and lives after a drought brought devastating fires that destroyed or damaged more than 500 homes and 555,000 acres of farmland and forest. Shelton took action last year by launching Raindance!, a charity event that centered on a sold-out concert and raised more than $133,600 for Project Rebuild, the relief program sponsored by the Oklahoma Lumbermen's Association.

But even that amount of money hasn't satisfied the young superstar, who came back in 2007 for more. "I'm so happy it's been such a success," he declared. "And I want to keep it going because Project Rebuild will always have someone who can benefit. I want to give back not only to my home community [of Ada, Okla.,] but also the whole state. Besides that, I just have fun doing it. Most of these guys that come in are people I just look for an excuse to hang out with."

This year's three-day event in April raised more than $100,000 and once again brought team roping competitions, archery tournaments (including a celebrity shootout) and a concert complete with silent auction. Last year, Shelton recruited Keith Anderson, Tracy Byrd, Andy Griggs and others to join him. The lineup this year included Neal McCoy and Craig Morgan - who, Shelton said with a grin, needed a bit of convincing.

"I told him about the turkey hunt and he jumped onboard then. Yes, it's unbelievable just how red some of us are," he joked.

The clout that Shelton demonstrates in organizing Raindance! reflects just how bright his star has grown, with recent appearances in People and on "The Late Late Show with Craig Ferguson" coinciding with the May 1 release of new album, Pure BS, and a run as a judge on "Nashville Star." He was a little doubtful, actually, about accepting that invitation from USA Network's "Nashville Star," thinking that his off-kilter sense of humor might leave him mistaken for "some beach." But the votes tallied in his favor in the end.

"I figured after eight episodes people would finally go, 'OK, I get this guy now,'" he said. "I would watch the Web site and saw the hate comments getting fewer and fewer, so I'm glad it worked out that way. And I was really surprised with the level of talent on the show. Some days, it was tough to find something critical to say about any of the contestants. I have a lot of respect for all of them."

Asked about fellow judge Anastasia Brown, Shelton said he hopes people don't get the wrong idea from their sometimes barbed exchanges. "As a matter of fact, I really like Anastasia," he insisted. "She's one of the people I see around Nashville who always has a smile on her face. She's so easy to approach. Of course, you know I picked on her and she picked on me too, about the way I dress. But I do know people love to hate her and she's been really good for the show."

For her part, Brown described herself as "proud to be Blake's partner in crime and proud to be a part of the 'Nashville Star' team. It's done nothing but good things for our city and industry and all of the people associated with it."

She admitted to worrying sometimes about how her constructive criticism of contestants might go down with viewers, but "my previous business partner, Miles Copeland, influenced me with this thought: You either make decisions based in fear or passion. Do not ever allow fear to guide you. I love music and art, so that's how I make my decisions. I can't worry about what people think. I always try to be honest and fair while focusing on areas of critique different than my co-judges."

As for sharing the screen with Shelton, Brown continued, "Sitting next to him every week is like getting a front-row seat to a comedy show. I couldn't ask for a more talented person to work with, not only as an artist I respect but also one of the most entertaining people I've ever met."

Of course, Shelton's significant other, Miranda Lambert, a "Star" alumna herself, may see the show in a different light. "Believe me," he said, chuckling, "I've taken many occasions to remind her that she lost. When she's said, 'Well, I don't know how I feel about so-and-so,' one of the contestants, I come back with, 'What can you say? You didn't win. You lost.' Then I end up being silenced for a long time after that."

An even better way to silence Shelton might be to place him in the company of Country Music legends including John Anderson and George Jones, who made special appearances backing him on his new album's last track, "The Last Country Song." "Recording that was definitely a time you would have seen me speechless," he confirmed. "Standing between those two, I couldn't say a word."

The Bellamy Brothers, John Conlee and Earl Thomas Conley are among Shelton's other dream duet partners. He's actually recorded with the Bellamys, though that track was not on Pure BS but on the soundtrack of The Dukes of Hazzard: The Beginning.

"The Last Country Song," which Shelton had a hand in writing, describes the demolition of a favorite neighborhood hangout and bulldozing of rural land while at the same time addressing changes in Country Music today. "Country Music is changing," he said, "and whether it's for better or for worse, there's no stopping it."

Elsewhere on Pure BS, there's a surprise ending and a visit to the story-song roots of "Austin," the six-week, No. 1 debut single from his eponymous first album, on "I Don't Care." Listen as well for Shelton's take on the Craig Wiseman/Chris Knight tune "It Ain't Easy Being Me," which had also been recorded by Anderson and Knight before Lambert brought it to his attention. Songs by David Lee Murphy and Rachel Proctor, who contributes vocals as well as her writing talents, are also found on the album.

In addition to his longtime collaborator, Bobby Braddock, Shelton worked with producers Brent Rowan and Paul Worley on his new album. All three producers shared the same vision which sprang from his previous album, the Gold-selling Blake Shelton's Barn & Grill, produced by Braddock, which featured Shelton's hit remake of Conway Twitty's "Goodbye Time." Shelton insisted that when people heard the single, they frequently told him, "I didn't know you could sing like that."

Those comments inspired him to "showcase what I can do vocally a little more" on Pure BS While still most comfortable with "hard-times, broken-heart drinking songs," Shelton and his producers looked as well for songs that "pushed me to sing better and to see how far my range could go, to try new things and see what's still inside of me that I haven't tapped yet. And I did find more of myself that I didn't know was there. I had to dig a little deeper and be uncomfortable again with somebody I didn't know that well in the studio and feel like I had something to prove to that person."

For all the exposure he's received recently on CBS with Ferguson and ABC-TV's "Jimmy Kimmel Live," Shelton is no newcomer to the camera, having made a series of popular - and strange - commercials that aired on Great American Country for Blake Shelton's Barn & Grill.

"My favorite one," he deadpanned, "was probably the one where I was hitting on the sheep."

Chalk it up as an unexpected side to one of the purest Country artists on the scene today, whose goal is as timeless as the traditions on which he draws: "I want to make those albums that last forever, that people never throw away. That's what I'm chasing."

On the Web: www.blakeshelton.com ; www.oklahomaraindance.com

   

Images for above article.

 

 

 
 
Blake Shelton; "Pure BS;" Warner Bros. Nashville
Photo: See Caption

 

Blake Shelton; Warner Bros. Nashville; Photographer: Russ Harrington
Photo: See Caption

 

Blake Shelton; Warner Bros. Nashville; Photographer: Russ Harrington
Photo: See Caption

 

 

Charlie Louvin: Still Running Wild
By Rick Kelly

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

On a recent Saturday afternoon in Nashville, a diverse throng packed the narrow aisles and spilled outside through the open doors of Grimey's record store. Twenty-something hipsters pressed against bespectacled grandmothers; veterans from Music City's Country establishment stood alongside Nashville resident newcomers including Jack Lawrence, bassist with alt-rock supergroup The Raconteurs. All were held rapt by a legendary 79-year-old from Henagar, Ala.

As Charlie Louvin and his band played hits from a catalog that spans more than half a century, this crowd testified to the impact of the long musical partnership he sustained with his late brother Ira as The Louvin Brothers - and to its endurance on Charlie Louvin, the latest album from the Country Music Hall of Fame member.

He was born Charles Elzer Loudermilk in 1927. Along with Ira, three years his senior, Charlie sang gospel music in churches around Henagar. Influenced by the tradition of shape-note singing, and by family gospel groups including the Blue Sky Boys and the Delmore Brothers, they developed their unique close-harmony style and accompanied themselves on guitar and mandolin.

As teenagers, the brothers started playing on a small radio station in Chattanooga, Tenn., until Charlie's service in World War II interrupted their career in the early 1940s. Upon his return from the Army, they moved to Knoxville, where they sang on the WROL and WNOX radio stations. From there, the brothers moved to Memphis, where they were featured regularly on WMPS.

The Louvin Brothers' recording career began in the late 1940s, with a series of sides for Decca Records and later for MGM. When these failed to make significant commercial impact, Charlie and Ira returned to Memphis and took day jobs while continuing to perform in concerts and on the radio. After changing their surnames from Loudermilk to Louvin to avoid confusion with their cousin John D. Loudermilk, who wrote and performed classics "Tobacco Road" and "Abilene," the duo signed with the Acuff-Rose publishing company, which led to a new recording contract with Capitol Records.

Their first Capitol single, "The Family Who Prays," was released shortly before Charlie was recalled to active military duty in the Korean War. Upon his discharge, The Louvin Brothers resumed their recording and performing career, and in 1955 became members of the Grand Ole Opry.

Then, as they began to intersperse their gospel music with secular songs, the hits started to come. In 1955, they had their first Top 10 single "When I Stop Dreaming," and the following year scored four more with "Cash on the Barrelhead," "Hoping That You're Hoping," "I Don't Believe You've Met My Baby" and "You're Running Wild."

Through the 1950s, as rock 'n' roll grew into a cultural phenomenon, The Louvin Brothers continued to record, though they hit the jackpot less frequently than in their boom years. The Everly Brothers, who were influenced by the Louvins, emerged during this period, and their singles began to eclipse those of Charlie and Ira on the airwaves.

Still, The Louvin Brothers enjoyed success with "I Love You Best of All" and "How's the World Treating You" during this period, while releasing the classic albums A Tribute to the Delmore Brothers and Satan Is Real. After their single "Must You Throw Dirt in My Face" peaked in 1962, the brothers decided to pursue solo careers. Ira, who had struggled with alcohol for many years, released several singles and one album before dying in an automobile accident in 1965.

Charlie, however, flourished as a solo artist, scoring Top 20 hits with "Will You Visit Me on Sundays" and "Something to Brag About." e also broke into the Top 10 with his first solo effort "I Don't Love You Anymore" and the classic heartbreaker "See the Big Man Cry."

In the late '60s, though Charlie continued to record and perform traditional Country Music, the entertainment world focused more n the psychedelia of The Beatles and The Rolling Stones. But in Los Angeles, Gram Parsons, later hailed as the seminal figure of the ountry-rock movement that spawned the Eagles, was becoming enamored by the music of The Louvin Brothers. As a member of The yrds, he included the Louvins' "The Christian Life" on the group's 1968 Sweetheart of the Rodeo. As a solo artist, he covered "Cash on he Barrelhead" on his Grievous Angel album (1973), and his protégé and duet partner Emmylou Harris scored her first Country hit with the Louvins' "If I Could Only Win Your Love," which reached the Top 5 on the Country charts during 1975.

The influence of Charlie and Ira continues to be felt in a new generation of artists who were inspired in part by Parsons and Harris. A wide audience waited, then, as Charlie released his first major studio album in more a decade this year. Some of the greatest names in Country Music, including Bobby Bare Sr., Tom T. Hall, George Jones and Marty Stuart and appear on it as guests, along with alternative Country artists Tift Merritt, Wilco's Jeff Tweedy, and Joy Lynn White, members of the bands Bright Eyes, Superchunk and Lambchop, and Rock and Roll Hall of Fame member Elvis Costello.

Louvin is especially honored to have inspired so many young talents. "They had a lot of reverence for The Louvin Brothers," he said. "They know what I'm doing, and that makes me feel good."

While many of these guest vocals were added after Louvin and the band had wrapped up their tracks, Costello made a special trip to record "When I Stop Dreaming," with Louvin in Nashville. "Costello came down early when he was playing Bonnaroo," Louvin said, referencing the annual rock festival in Louvin's current hometown, Manchester, Tenn., which draws up to 90,000 spectators. "He's a really good guy and a big Louvin Brothers fan."

"The younger guys did it out of a huge respect for the Louvins," said Mark Nevers, who produced the CD, featuring Must You Throw Dirt in My Face" and "Knoxville Girl." "They're more popular now than ever and have been a hidden gem for years. And I've been a huge fan of the Louvins for several years."

The label that would release Charlie Louvin, Tompkins Square, tapped Nevers to helm the sessions after hearing his handiwork on Bare's The Moon Was Blue, released in 2005. "Charlie was very well prepared," Nevers continued, "and we were able to get the tracks down in just two days, with Charlie doing live vocals. We were going for a very '70s sound, but without steel guitar. I'd like to do a gospel album with him next, with some more unfamiliar songs."

After more than 60 years as a performing artist, Louvin has learned that the most important thing is to appreciate the fans that support him. "My advice to any young artist is to be good to the fans," he said. "I spend more time signing autographs than I do performing, which is fine by me. It's best to go home with the one that brought you to the dance. I don't worry about signing autographs for fans nearly as much as I would if nobody wanted an autograph."

That, of course, is one thing that need never concern Louvin.

O n the Web: www.charlielouvinbros.com

   

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Charlie Louvin; Tomkins Square Records; Photographer: Alan Messer
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Charlie Louvin; Tomkins Square Records; Photographer: Alan Messer
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bulletTV Talent Contests Help Launch Country Acts
bulletNEW ARTIST SPOTLIGHT: Stephen Cochran
TV Talent Contests Help Launch Country Acts
By Deborah Evans Price

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

One has to look no farther than the recent success of "American Idol" alumnae and labelmates Kellie Pickler (19 Recordings/BNA Records) and Carrie Underwood (19 Recordings/Arista) to document the impact talent competitions provide in launching new artists. However, FOX-TV's "American Idol" isn't the only such vehicle to jump start aspiring Country Music artists.

Competitions have long provided a talent pool for A&R executives at Country record labels. Sawyer Brown made its bow on CBS-TV's "Star Search" back in 1983 and became the first winner of the nationally televised show.

Brad Cotter, George Canyon, Buddy Jewell, Erika Jo, Miranda Lambert, John Arthur Martinez, Chris Young and newcomers Angela Hacker, Jason Meadows and Lance Miller are among the artists who got their start on Music Row via USA Network's "Nashville Star." In addition to those artists, Lyric Street Records' Bucky Covington and Josh Gracin both gained a national audience via "American Idol."

LeAnn Rimes hosted the 25th anniversary of the Colgate Country Showdown as North Carolina native Megan Peeler walked away with the $100,000 prize. The televised one-hour special was syndicated nationwide by MG Perin, Inc., and also aired on GAC (Great American Country). Throughout the contest's 25-year history, Garth Brooks, Tracy Byrd, Billy Ray Cyrus, Sara Evans, Brad Paisley, Martina McBride, Tim McGraw and Neal McCoy are some of the artists who won the competition at either the state or local level.

"It meant everything in getting jump started that fast," Sawyer Brown frontman Mark Miller recalled of the group's "Star Search" experience, which fans still remember as the band's springboard. "The TV show made such a big splash, especially back then for Country Music. Our first two albums went Gold and Platinum. Back in '85 for a Country act to sell 100,000 units was a big deal and we sold 250,000 albums the first couple of weeks, if I remember correctly."

Sawyer Brown still records for Curb Records and, in addition to his work with the band, Miller has several other endeavors. He owns Beach Street Records, a Christian label that is home to the Platinum-selling band Casting Crowns. He also produces other artists, among them Covington, who placed eighth on "American Idol" during its fifth season.

"He has a cool, cool sounding voice," Miller said. "I discovered Bucky because my son was his biggest fan. Literally, when Bucky got voted off, my son Gunnar made me call him. He said, 'Daddy you have to help him.' That's literally the way the whole thing began."

Needless to say, Covington was pleasantly surprised when he got the call from Miller. "The day after I got voted off the show, Mark Miller called my hometown newspaper and got my phone number and called me up," said Covington, still sounding somewhat incredulous at his good fortune.

Miller and his son weren't the only ones taking notice of Bucky, which made things easier when Miller began looking for a label deal for Covington. "I really didn't have to shop him around," Miller said. "I knew Doug [Howard] and Randy [Goodman] at Lyric Street. I literally just made a phone call and they pretty much said 'yes.' Doug had seen Bucky throughout the show and was a fan."

Sawyer Brown has taken Covington out on the road, and Miller said he's seen first hand the recognition generated by the "American Idol" phenomenon. "It is mind boggling how many people saw that show," Miller said. "When we bring him out on stage, we don't even have to introduce him. They see that long blond hair and they start going nuts. They know exactly who it is."

Lyric Street Records President Randy Goodman is not surprised. "We've always known the power of network television," he said. "You'd have to be a monk to not know the impact 'American Idol' is having on the general population."

Goodman said "American Idol" exposure helps acts break more quickly. "With somebody like Carrie Underwood and Josh and Bucky, you've got acts that are already branded to a certain degree. Radio stations know who Bucky is or Kellie Pickler is or who Josh is, and they definitely know who Carrie Underwood is. So, you've got a built in awareness and that awareness creates interest. Radio is always going to be the primary way that I sell records and that I alert and activate the audience, but 'American Idol' has created an instant recognition and awareness."

Covington said "American Idol" exposure definitely helps put a new artist on the fast track. "One of the toughest things for a new artist is you have to put out three to four good songs before people know who you are," he said. "The greatest thing about the show is you've got fans before you put the single out. That's a great head start."

Goodman said that Covington getting to work with Miller is a major plus for the new artist because he understands what it's like to gain acclaim from a talent competition. "He went through that process," Goodman said. "What's great about Mark as a mentor is he came from a contest show. He won it. He understands that immediate love that everybody pours on you, but he also understands that to build a long term career, you have to take that foundation, that kind of branding, and build on top of that with great, great songs. Mark and Sawyer Brown did that and Mark has proven to be an extraordinary businessman. There is not a better person than Mark that Bucky could be working with."

Covington's labelmate Gracin said talent contests are a great way for aspiring acts to break into the business.

"I tried to get into Country Music a long time before the show," Gracin said. "I recorded a CD and tried to plug it and get things going. It never worked. So I took a step back from music and went into the Marine Corps. Then the show came up and I thought that would be a pretty cool way to get my foot in Country Music. I tried it and I got a spot on the show. It's done wonders for me." Gracin has scored a Gold album, a No. 1 single and two Top 5 singles.

"American Idol" exposure helped make Pickler's debut album, Small Town Girl, a tremendous success. Like Gracin, she's grateful to have had "Idol" as a launch pad.

"Everyone watches it and they get to be a part of our success," she said. "They pick the winner and they get to watch you grow from the very beginning of a career, all the way to the top. And they support you afterwards, buying your albums and coming to your concerts."

Though "American Idol's" TV exposure provides that competition with tremendous visibility, the longest running Country talent competition - and the one that has launched some of the most successful artists - is the Colgate Country Showdown. It is produced by Special Promotions, Inc., which partners with 470 radio stations across the country. In 2006, the Showdown sponsored more than 550 live shows, exposing lots of new talent. Launched in 1982, Wrangler was the original sponsor of the event.

Over the years Coca Cola, Jimmy Dean, Dodge, GMC and True Value have served as title sponsors, but the one constant throughout the years has been Dean Unkefer, who spearheads the Showdown.

"Through production manuals and media coordination, we assist radio stations and fairs in their promotion of the Showdown," Unkefer said. "It's synergy. We all take pride in it and there's a place for everyone on this program."

Unkefer loves helping aspiring acts be seen and heard. "The most important thing in the Showdown is not winning or losing but having the opportunity to perform in front of live audiences and help contestants be exposed to industry professionals," he said.

Such exposure can have longterm effects. Troy Gentry won the Jim Beam Talent Contest in 1994 as a solo act, before teaming with Eddie Montgomery to form Montgomery Gentry on Columbia Records. Jim Beam supported his burgeoning career and continues to do so by sponsoring Montgomery Gentry.

"They kept up with what was going on with my solo career and tried to help me out," Gentry said. "Then Eddie and I got put together and the people who were involved in the Jim Beam contest contacted our management company to see if we could hook up for a sponsorship."

Gentry encourages other aspiring artists to try the competition route. "I think the winning of the contest was encouragement for me to keep on playing, which led to Eddie and I getting back together to form Montgomery Gentry."

Though there can sometimes be a stigma associated with being a talent contest winner, those who have used it as a portal to the music industry don't regret it.

"If this is bad, I've got it good," Pickler laughed. "At the end of the day, regardless of how you make it, you've made it. I can only thank 'American Idol' for the exposure they've given me in launching my career."

Gracin is also proud of his 'Idol' past. "It will always be a part of where I came from and what I've done," Gracin said. "I never try to downplay that at all because without it, I wouldn't be where I'm at. It's been very instrumental in everything."

On the Web: www.americanidol.com; www.countryshowdown.com; www.usanetwork.com/series/nashvillestar

   

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Angela Hacker wins "Nashville Star;" Photographer: John Russell
Photo: See Caption

 

 

Bucky Covington; Lyric Street Records; Photographer:
Photo: Kristin Barlowe

 

 

Kellie Pickler; 19 Recordings/BNA Records; Photographer: Robert Ashcroft
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NEW ARTIST SPOTLIGHT: Stephen Cochran
By Kristen Scherer

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Family tradition and true-to-life stories have been at the heart of great Country Music, and with his self-titled debut album, Stephen Cochran brings them together in 13 Country songs that seamlessly blend the old and the new.

Born in Pikeville, Ky., and raised in the heart of Nashville's creative community, Cochran watched his Dad, Steve Cochran, wrestle with Music Row's starmaking machinery as a struggling songwriter and artist.

"That was my school, coming home and watching Dad practice and play and write," Cochran said. "There's a song on the album called 'Old School' that says, 'I remember what Daddy told me, you've got to play it how it feels and just always keep it real.'"

Cochran had just commited himself to the music business when history postponed his fledgling career on Sept. 11, 2001. He joined the Marines light armored reconnaissance division and served two tours of duty in Iraq and Afghanistan, losing a dear friend to enemy fire and breaking his back in the process.

Dedicating his recovery time to his deferred music dreams, Cochran soon ammassed the catalog of songs that would attract the attention of Aria/Quarterback Records Nashville, who will release the singer/songwriter's self-titled debut album, featuring three Cochran originals, on Aug. 28.  The leadoff single "Friday Night Fireside" was written by Butter, Scott Harris, Vencent Hickerson and Isaac Rich (brother of Big & Rich's John Rich).

IN HIS OWN WORDS:
Who is your musical hero?
"Elvis Presley."

Which song would you secretly like to cover?
"Tracy Lawrence's 'Find Out Who Your Friends Are.' I love that song."

What CD is on your stereo?
"Waylon Jennings with Willie Nelson, If I Can Find a Clean Shirt."

What do you sing in the shower?
"'Lonesome Dove' by Garth Brooks."

What moment in your life would you relive if you could?
"May 7, 2004, the night that my friend, Ron Payne, was killed in enemy
fire in Afghanistan."

Which mode of transportation do you prefer - planes, trains or automobiles?
"Planes, only because I tend to be impatient."

On the Web: www.stephencochran.com

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Stephen Cochran; Aria Records; Photographer: Johnny Chauvin
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Ricky Skaggs and Bruce Hornsby: Way Out in the Country
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

They seem like an odd couple: Ricky Skaggs, dressed to the nines, his tie knotted tightly over a matching charcoal-colored shirt, hair neatly trimmed, seated behind a table on his touring bus. And, to his left, here's Bruce Hornsby, relaxed in jeans and tour jacket, his hair tousled, his long legs stretching into the aisle. The differences between them are many, from their physiques to their politics to their preferences in music.

None of that matters, though, as much as the traits that draw them together. It comes down to each is a master musician whose work draws deeply from tradition. And while their tastes vary, from Skaggs' reverence for early American mountain music to Hornsby's enthusiasm for bebop and more modern forms of jazz, there is plenty of overlap too. Each has opened to the other's favorite artists. And judging from their dialog shortly before a "CMT Crossroads" taping in Franklin, Tenn., it's difficult to tell who started out liking what.

"Those records by Bill Evans and Tony Bennett," Skaggs began, referring to two albums that the innovative pianist and famous crooner cut together as a duo, "will forever be in my heart. I love them. They just blow me away. They're flawless. I would suggest those records for anybody, any musician . ."

"What about that old-time, down-in-the-dirt music by Dock Boggs and Roscoe Holcomb," Hornsby chimed in. "That's just wonderful stuff."

There's something inspirational about hearing these two, their mantels and walls back home covered with awards, each a veteran of the business with plenty of stories to tell, talk about music as if they were kids again, having just discovered its wonders. That also explains the emotion and the artistry of the collaborative CD they have issued on Sony BMG/Legacy, not to mention the simplicity of its title: Ricky Skaggs and Bruce Hornsby.

This story goes back to 1990 when they met at a festival in Horseheads, N.Y. A few years later, Skaggs brought Hornsby to the Ryman Auditorium for a TNN taping, "Live at the Ryman," whose other guests included Bela Fleck and Vince Gill. In 2000, Hornsby accepted another invitation, to take part in a tribute CD that Skaggs was organizing, Big Mon: The Songs of Bill Monroe. His contribution was a predictably innovative interpretation of "Darlin' Corey," which Skaggs picked as the opening track.

"I'm so glad we started with that because it set such a high benchmark," Skaggs said. "There's a bunch of great cuts on that record, but this one caused it to soar."

"I thought he would appreciate it if I threw a few Bill Evans chords in there," Hornsby chuckled. "But I've actually been involved with this music since 1989, when I was on volume two of Will the Circle Be Unbroken with the Dirt Band. Yeah, it pissed off all the purists, but we also won the bluegrass Grammy for our version of [the Hornsby song] 'Valley Road.' Then I wrote the title cut to Crown of Jewels for Randy Scruggs. Pam Tillis cut 'Mandolin Rain.' And even from my first record, I've always had a strong Country influence."

Raised in the Virginia countryside and educated at the Berklee School of Music in Boston, Hornsby unveiled a new sound on his debut album, The Way It Is, in 1986, built on a foundation of rock rhythm and catchy melody but invested with a unique combination of jazz phrasing in his solos and a pastoral sensibility in his harmonies. This last detail, with its emphasis on evocative chords that leave plenty of room for vocal lines, is what made it easy for other musicians, whether it's Skaggs, Grateful Dead icon Jerry Garcia, or jazz saxophone giant Branford Marsalis, to find places in their future collaborations with Hornsby.

In 2002, Skaggs, as host of the PBS special "All-Star Bluegrass Celebration," brought Hornsby back to the Ryman. By now the pianist/singer/songwriter moved easily within the company of Alison Krauss, Del McCoury, Earl Scruggs, Ralph Stanley and the other performers. At the same time, he remained a distinct presence, respectful of this music yet a step removed from it. It gave Hornsby a perspective unlike any other, which may be why Skaggs decided the time had come for them to work more closely together.

Skaggs took the right approach, asking Hornsby not to adapt to the bluegrass format but to begin by sending him some examples of the music he was doing on his own. "I came to appreciate where Bruce comes from," Skaggs explained. "He brings along Bill Evans, Bud Powell, Keith Jarrett and Leon Russell - the guys that influenced him. He loves bluegrass too, but he never had a chance to experiment with it on a whole record, from start to finish. That's what caused this music to grow."

This music, by the way, is intended to refer not just to the tracks that they laid down with Kentucky Thunder but also to its anticipated impact on the wider stage. Setting aside, Hornsby's specific artistry, the very idea of applying a piano to bluegrass points towards uncharted territory, though Skaggs insists that Monroe was always open to the possibility.

"My father-in-law, Buck White, played the piano," he said. "There was an old piano onstage at the Bean Blossom Festival, and Bill would ask Buck to sit in and play fiddle tunes with him. He also loved the stuff that me and my band did on things like 'Uncle Pen' and 'Wheel Hoss.' He'd always look over and smile. He would have loved Bruce Hornsby."

Of course, Skaggs carried a piano player not with his bluegrass groups but with his Country band. In that setting, he assigned a relatively restricted role to the pianist, which came down to doubling the bass part with his left hand and avoiding the third note of the chord he played with his right. With Hornsby, though, the reins were let loose and as a result, between the two of them, the free accompaniment of jazz piano and the tight focus of bluegrass find an unprecedented common ground.

"I feel like I'm creating a new role for the piano in this music," Hornsby said. "It's whatever I choose to make it, as long as I'm playing with some sort of taste."

"The thing is, as we were getting this together, we never once mentioned the word 'radio,'" Skaggs said.

"That's why I could write things like 'Gulf of Mexico Fishing Boat Blues,' which I think is the first bluegrass tune in 5/4," Hornsby added, smiling slyly. "I wanted to fit into this mode but also twist it a little bit."

Released on March 20, Ricky Skaggs and Bruce Hornsby, kicks off with "The Dreaded Spoon," an autobiographical story of youthful ice cream thievery. "A Night on the Town," also a Hornsby original, invokes Appalachian storytelling traditions, with a jubilant chorus contrasting the verses' cautionary tale. Other highlights include "Mandolin Rain," two traditional arrangements, "Across the Rocky Mountain" and "Hills of Mexico," and the driving Skaggs original instrumental "Stubb."

"Really, all we wanted to do was to make music," Skaggs summed up. "And that's all we've done. To me, every cut is a masterpiece. Even more important than that, it's not just bluegrass or jazz or whatever: It's music."

On the Web: www.brucehornsby.com, www.skaggsfamilyrecords.com

   

Images for above article.

 

 

 

 
Ricky Skaggs and Bruce Hornsby relax on Skaggs' tour bus before the "CMT Crossroads" taping.
Photo: John Russell / CMA

 

Ricky Skaggs
Photo: John Russell / CMA

 

Bruce Hornsby
Photo: John Russell / CMA

 

"Ricky Skaggs & Bruce Hornsby;" Sony BMG/Legacy
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New Artist Spotlight: Flynnville Train
By Kristen Scherer

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Take two regional powerhouse bands - one rock and one blues - and leave them to their own devices way out in the country. If you're lucky, you might wind up with something half as undeniable and unstoppable as Flynnville Train. Hailing from small towns around Muncie, Ind., the five members of Flynnville Train - brothers Brian and Brent Flynn on vocals and guitar respectively, guitarist Jeremy Kent Patterson (aka Tombstone Slim), and the powerhouse rhythm section of bassist Tim Beeler and drummer Tommy Bales - go way back on the Indiana music scene.

While the Flynn brothers were rocking the local clubs with their band Milestone, Bales and Patterson were laying it down in the area's blues bars. The two groups formed a fast friendship.

The opportunity to finally come together came from Kentucky HeadHunter Richard Young, who offered to produce the Flynn brothers in the Glasgow, Ky., studio of engineer David Barrick. Looking to augment their sound, the brothers knew exactly where to look.

Powered by the unique dual-guitar dynamic of Brent Flynn and Patterson, and countrified by Brian Flynn's turbo-twang vocals, Flynnville Train comes roaring out of the gate like a tricked-out Harley on their debut album, on Toby Keith's Show Dog Nashville record label and produced by the band with Barrick and Young. The album is set for release on Aug. 28. Leadoff single "Last Good Time," written by Neal Coty and Craig Wiseman, captures the band's go-for-broke approach. Patterson credits Show Dog with giving the musicians total freedom to be themselves.

"They just turned us loose and let us do what we do," he said. "And once it gets rolling, it's awfully hard to stop a train."

In early June, Flynnville Train performed at CMA Music Festival and on June 21, they helped kick-off Toby Keith's "Big Dog Daddy Tour." The band is currently opening for the trek's 50-plus shows. 
 
IN THEIR OWN WORDS:

What CD is on your stereo?
Brent Flynn : "Beatles '65."
Brian Flynn : "Flynnville Train."

What word or phrase do you find yourself saying over and over again?
Bales: "Y'all ain't gonna believe this ... "
Beeler: "Priceless."
Brent Flynn : "That's what she said."
Brian Flynn : "I don't know, you tell me."
Patterson: "It's not rocket science."

What book or magazine is on your nightstand?
Bales: "Modern Drummer."
Brent Flynn : "Country Weekly."
Brian Flynn : "Hot Rod Magazine."
Patterson: "The Bible."

What do you sing in the shower?
Bales: "'Dance to the Music.'"
Brian Flynn : "'She's So Heavy.'"
Patterson: "Al Green."

What is your pet peeve?
Bales: "Backseat drivers."
Brent Flynn : "Long checkout lines."
Brian Flynn: "Being behind schedule."
Patterson: "Mornings."

On the Web: www.flynnvilletrain.com

   

Images for above article.

 
     
Flynnville Train; Show Dog Nashville; Photographer: Eric Beggs
Photo: See Caption

 

 

 

 

 

"CMA Music Festival: Country's Night to Rock" on ABC July 23
By Wendy Pearl

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

The Country Music Association turns up the heat this summer with sizzling concert performances and heart-warming stories featuring some of Country Music's hottest stars on "CMA Music Festival: Country's Night to Rock" - a two-hour network primetime special airing  Monday, July 23 (9:00-11:00 PM/ET), on the ABC Television Network.

The excitement starts with an early morning wake up call with Kellie Pickler performing her single, "I Wonder," on ABC's "Good Morning America" and continues throughout the day with on-air segments featuring Country stars and ABC daytime actors in segments that were taped at the legendary Festival in June.

"From start to finish, America's network will feature America's favorite music and performers on July 23," said Tammy Genovese, CMA Chief Operating Officer. "If you love Country Music and stories that will melt your heart, you should set your dial and leave it on ABC."

"I Wonder" from Pickler's Gold debut album, Small Town Girl, is a reflective song that Pickler wrote about her absent mother, who left Pickler as a child. The song is Top 15 and climbing the Country singles charts.

"It's a very personal song and I cry almost every time I sing it," admited Pickler. "So, I better make sure I'm wearing the waterproof mascara that day."

In addition to performing "I Wonder" on "Good Morning America," Pickler will also give viewers a preview of the CMA Music Festival special, which includes performances Jason Aldean, Dierks Bentley, Big & Rich, Brooks & Dunn, Sara Evans, Alan Jackson, Miranda Lambert, Little Big Town, Martina McBride, Brad Paisley, Pickler, Rascal Flatts, LeAnn Rimes, Sugarland, Taylor Swift, Josh Turner, Carrie Underwood, The Wreckers and Reba McEntire in a duet with "American Idol" Kelly Clarkson.

"The artist lineup at this year's CMA Music Festival was amazing and the TV special captures the diversity, talent and top-notch concert production that have made these artists fan favorites from coast-to-coast," Genovese said. "This time, everyone has a front row seat for some of the hottest performances of the summer."

In addition, the special also captures the heart of CMA Music Festival, which is the unique bond between Country Music artists and their fans. Taped exclusively for the special, the cameras follow the stories of several Festival attendees who had their dreams realized when they were granted surprise, personal encounters with their favorite Country Music stars, including a segment with Pickler, where she gave an aspiring record label executive a tour of her Nashville label and backstage access to CMA Music Festival.

Pickler knows what it's like to have a dream come true and she shared that experience with Kellie McFarland, 19, a diehard Country Music fan who has dreams of running her own record label. Pickler paid a surprise visit at McFarland's Nashville home and took the aspiring record executive on a tour of her record label. The uber fan got the star treatment and experienced what it is like to live like a Country Music star as she and two friends, Tyler Rider, 20, and Melissa Montgomery, 21, hung out with Pickler and all three were granted an all-access pass to the event.

Other segments feature Dierks Bentley with George Jones at the Country Music Hall of Fame and Museum; Big & Rich jamming with two, young musicians; Brooks & Dunn returning to their honky tonk roots at an impromptu club concert; Martina McBride presenting a new truck to a Kansas family who lost everything in recent tornadoes; and "Dancing with the Stars" two-time champion Cheryl Burke, who granted once-in-a-lifetime meetings between fans and their favorite stars Rascal Flatts, LeAnn Rimes and Sugarland.

Karmela Kondra, 21, Andy Dufort, 23, and Stacey Zurburg, 27, from Calgary, Alberta, and Mike Boyenko, 27, from Saskatoon, Saskatchewan, were a group of friends that journeyed to Music City for four days of music and fun, but they got a whole lot more when Bentley greeted them outside their hotel. Bentley ended up taking them on a tour of Nashville including the Fan Fair Exhibit Hall and the Country Music Hall of Fame and Museum, where they met Hall of Fame legend Jones, and experienced a day in the life of a busy Country star. 

Big & Rich, Big Kenny Alphin and John Rich, are fan favorites for a reason: they love discovering and nurturing fresh talent and they were doing it on a BIG scale at the Festival. As Alphin said, "The only thing success has done is allow us to do more for more people." During the Festival, Big & Rich met a pair of extremely talented musicians, Ruby Jane Smith, 13, of Columbus, Miss., and Chelsea Dock, 11, of Brooklyn, N.Y. The aspiring players thought it was a private meet and greet with the duo, but it morphed into a jam session at sound check, that culminated with the pair being asked to sit in on Big & Rich's stadium performance at LP Field, where they rocked the house on the duo's new single, "Radio."

"What we love about our artists is their accessibility and sincere desire to connect with the fans," Genovese said. "And what comes across is that anything can happen at CMA Music Festival and you never know who you are going to see, or what could happen next."

Nashville media were buzzing when word leaked during the Festival that Brooks & Dunn would take it back to their road-house roots with an unannounced club concert for their grittiest fans at The Stage. The story began with a local radio DJ announcing the news of the impromptu honky tonk concert and the result was pandemonium as 3,000 fans clogged the streets for a glimpse of the most awarded duo in CMA Awards history. Overwhelmed and moved by their loyal fan base, Ronnie Dunn and Kix Brooks returned the devotion, performing for the packed house, posing for photos and signing autographs well into the night.

The special is as much about the fans as it is the artists. In one segment, McBride, who grew up in a small town in Kansas, presents a new truck to a young couple who lost everything in a recent tornado that leveled the small Kansas town of Greensburg. Volunteer fireman Chance Little, 27, and his pregnant wife Tracy, 22, thought they were attending the Festival as a much needed break from the devastation at home, but McBride called them on stage following her powerful performance of "Somewhere Over the Rainbow" and presented the truck to help the couple get on their feet and on with their lives - to the cheers of 50,000 fans.

Burke had a tough assignment - search through 50,000 screaming, singing, dance-till-dawn concert goers to find the biggest Country Music fans at CMA Music Festival. Once she zeroed in on her picks, she sprung the news that this was they "Lucky Day" and they would be granted backstage meet and greets with their favorite stars Rascal Flatts, Rimes and Sugarland.

Sisters Alexa, 13, and Hannah Borroel, 17, of Santa Ynez, Calif., and Melissa Greenfield, 17, of Nashville, Tenn., met on Sugarland's fan Web site and then met in person at the Festival, where Burke found them and introduced them to their idols before the duo performed at LP Field. Anna Menghart, 23, and Crystal Cobb, 22, both of Little Rock, Ark., had a backstage meeting with Rascal Flatts. And Rimes was delighted to meet three of her biggest fans, Tyler Anderson, 19, of Lafayette, La., Claire Gremillion, 18, of Youngsville, La., and Jewel Hicks, 17, of Welsh, La., at her tour bus. 

"The relationship between the artists and their fans and the passion for the music has been the cornerstone of this event for 36 years," said Genovese. "The story segments in the special communicate the loyalty, admiration and dedication between them."

The CMA Music Festival network television special first aired in 2004. This marks the third consecutive year the special will air on ABC. "CMA Music Festival: Country's Night to Rock" is a CMA production. Robert Deaton is the executive producer, and Gary Halvorson is the director. The special was shot in high definition and will be broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

"CMA Music Festival is a phenomenon unlike any other and the special aims to capture it all - the unique interaction and relationship between the artists and their fans along with scorching performances by some of our format's most compelling stars," Genovese said. "If you love great music, the high-voltage energy of a stadium concert, and behind-the-scenes stories that will melt your heart and affirm everything that is wonderful about Country Music and our artists, then this is the TV special for you." 

Country Music fans also have the opportunity to view behind-the-scenes action from 2007 CMA Music Festival online at www.ABC.com. CMA and ABC partnered and presented an online, interactive experience that gives fans a backstage pass to some of their favorite artists and events during the summer's biggest Country Music celebration hosted by former "Bachelor" participant Bob Guiney.

CMA Music Festival drew a record crowd of 191,000 from every state and 21 foreign countries and Guiney and his crew were in the thick of it including backstage interviews with Martina McBride and Sugarland during the stadium concerts at LP Field; hanging out during the daytime concerts with Terri Clark and Craig Morgan; catching the autograph signings in the Fan Fair Exhibit Hall with Trace Adkins; and exclusive interviews with Billy Ray Cyrus and Bucky Covington on their tour buses.

"We are very excited to offer this virtual experience of CMA Music Festival," said Genovese. "Not only will this give fans an idea of what to expect from the ABC special, but it will also show how expansive the event has become. Bob Guiney covered the Festival with the enthusiasm of a first time attendee and I believe we made a convert!"

"I had such a great time meeting with all of the Country stars. They were all sincerely excited to be a part of the event - and their fans were incredible," said Guiney. "I've definitely been converted."

"Country Music fans are incredibly loyal, and we wanted to offer them behind-the-scenes moments from the Festival that they couldn't get anywhere else," said Alexis Rapo, VP Digital Media, ABC Television Network. "This is a great way to bring the Festival and the stars even closer to the audience."

The online content uses Macromedia Flash technology to stream these exclusive videos on-demand and allow fans quick and easy access to the fun and diversity of CMA Music Festival that was developed and designed by interactive marketing company Hi-Fi Fusion. 

The annual CMA Music Festival is unlike any other, taking place over four days and featuring more than 100 hours of concert performances, 30 hours of autograph signings with more than 400 artists and celebrities participating. The 2007 CMA Music Festival was the biggest in history with more than 191,000 attendees representing every state and 21 foreign countries.

The 2008 CMA Music Festival will take place Thursday through Sunday, June 5-8, in Downtown Nashville and tickets are available now. Fans who want to experience the excitement of the Festival firsthand, can order tickets by calling 1-800-CMA-FEST (262-3378); visiting www.CMAfest.com to download an order form to fax or mail; or visiting www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600. Prices do not include applicable handling fees. Ticket prices are subject to change without notice. All sales are final and non-refundable.

The Gold Circle section is already sold out and tickets are selling at a rapid pace. Fans are encouraged to order early for best available seating. Four-day ticket packages correspond to a different level of seating at LP Field. Children 3 years and younger are admitted free.

2008 CMA MUSIC FESTIVAL FOUR-DAY TICKET PACKAGE PRICES
LEVEL                      ADULT        12 & YOUNGER
Gold Circle (Floor)   SOLD OUT   N/A
Floor Level              $165           $116
Lower Level            $145           $102
Club Level               $135           $95
Upper Level (GA)     $110           $78

For up-to-the-minute information about tickets, travel information, schedules, artists appearing at 2008 CMA Music Festival and more, visit www.CMAfest.com and sign up for CMA Exclusive, a periodic e-newsletter with exciting artist features and Country Music news.

CMA Music Festival is organized and produced by the Country Music Association. CMA Board member Tony Conway is the Executive Producer of CMA Music Festival. Premiere Radio Networks is the official radio broadcaster. Chevy: The Official Ride of Country Music. Mary Kay® is the Official Beauty Sponsor. Fan Fair® is a registered trademark of CMA. 

   

Images for above article.

 

 

 

 
Big & Rich perform during the 2007 CMA Music Festival. Big & Rich's performance will be featured on "CMA Music Festival: Country's Night To Rock" on July 23 on ABC.
Photo: John Russell / CMA

 

Carrie Underwood performs during the 2007 CMA Music Festival. A Carrie Underwood performance will be featured on "CMA Music Festival: Country's Night to Rock" on Monday, July 23 on ABC.
Photo: John Russell / CMA

 

Kellie Pickler performs during the 2007 CMA Music Festival. Pickler will appear on ABC's "Good Morning America" July 23, the same day her performance from the festival will be featured in the ABC special, "CMA Music Festival: Country's Night To rock." Photo Credit: John Russell/CMA
Photo: John Russell / CMA
Dierks Bentley performs during the 2007 CMA Music Festival. Bentley's performance will be featured on "CMA Music Festival: Country's Night To Rock" on July 23 on ABC.
Photo: John Russell / CMA

 

 

 

Issue Date: 7/10/2007  
 
New Trails in Music Distribution
By Tom Roland

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Cracker Barrel claims no special insights into reviving retail CD sales. "The music industry is more expert at that than we are," said Simon Turner, Chief Marketing Officer at Cracker Barrel Old Country Store, Inc. "Our expertise is in making chicken and dumplings."

But music has become a tasty side dish for the restaurant chain, which locates the vast majority of its 554 stores at interstate exits in 41 states. Since 2003, the company has rolled out a series of exclusive Country albums featuring artists Merle Haggard, Alison Krauss & Union Station, The Charlie Daniels Band and Sara Evans. Cracker Barrel has offered several multiartist collections as well, including Grand Ole Opry-themed Live Classics CDs and its Songs of the Year album featuring concert performances of award-winning tunes by Trace Adkins, Lonestar, Jo Dee Messina, Willie Nelson, Blake Shelton, Trisha Yearwood and other artists. The company also created the American Legends series that features Johnny Cash, Patsy Cline, Haggard, Elvis Presley, Hank Williams and more.

Josh Turner's new live album, recorded at Nashville's historic Ryman Auditorium on April 19 and released July 3 exclusively at Cracker Barrel and online at www.crackerbarrel.com marks the company's most extensive commitment yet. In addition to the CD, Cracker Barrel is sponsoring the MCA Nashville artist's current concert tour and extending a relationship in which Turner already serves as the voice for the Tennessee based company in its radio advertising.

"Not everybody keeps up with the music business and with what new music is out there," Simon Turner said. "But people do eat. [For them] to walk in there and maybe pass by Josh Turner's live album on the shelf before they go and grab a table just kind of appealed to me."

Cracker Barrel exemplifies a growing trend toward releasing exclusive Country titles in non-traditional retail outlets. Starbucks' Hear Music program (hearmusic.com) has issued a number of "Artist's Choice" CDs in which performers including Cash, Emmylou Harris and Nelson developed playlists of their favorite artists. Plus, Hear Music Coffeehouses have allowed visitors to listen to a variety of music (including Rascal Flatts' Me and My Gang CD) from an interactive listening station and burn their own personal CDs for purchase.

In March, Starbucks and Concord Music Group, whose past collaborations include Ray Charles' 5.5 million-selling Genius Loves Company, launched a new record label, Hear Music, with Paul McCartney as its inaugural release on June 5. The album is McCartney's first album available digitally. Likewise, Hallmark releases special albums in a limited window of time to key on the Christmas and Valentine's Day holidays. These have included Martina McBride's 2005 compilation My Heart, which repackaged six of her signature love songs with new remakes of Buck Owens' "Together Again" and Etta James' "At Last," and George Strait's all-new 2006 set Fresh Cut Christmas, which achieved Platinum sales just seven days after its appearance in Hallmark stores.

"It's exciting to partner with a company that not only is known for being of the highest quality, but has actually set the standard for others to follow," McBride said. "I have grown up with Hallmark, and the thought of my CD in a Hallmark store is thrilling for me."

"Retailers that aren't traditionally music retailers understand the value and importance that music plays in their customers' lives," observed Ben Kline, Executive VP of Sales, Marketing and New Media at UMG Nashville.

"So I think what you're seeing is an abundance of non-traditional music retailers embracing music as a way for them to promote whatever else they sell at their retail location."

The timing for these ventures couldn't be better for the industry's bottom line. Digital downloads have eroded album sales for the music industry at large, and the loss of Tower Records to bankruptcy contributed to a shrinkage of shelf space in music's traditional retail outlets.

Country has weathered those setbacks more successfully than other genres, and the interest from these other retailers simply underscores the idiom's flexibility and appeal to Middle-American consumers.

"This business is changing," noted Turner's manager, Ted Green, of Modern Management.

"Are we going to stick our heads in the sand or are we going to adapt? One way of adapting, in my view, is if you have a major retailer like Cracker Barrel that has 554 stores across the country and 230-something million people coming through the doors every year, it's a no-brainer as far as we're concerned to try to do something with them."

The fit, of course, has to work for both sides. For a performer, Cracker Barrel's reach, and its location along the nation's major arteries, are ideal. Some 36,000 people eat at a Cracker Barrel daily, and 40 percent of those customers are just passing through.

"When you're traveling down the interstate and you're stopping off for a meal along the drive and you want some new entertainment, it's great to be able to pick up a CD there and pop it on in the car," Simon Turner said.

In addition, 36 percent of the chain's consumer base listens to Country radio heavily, and more than half listens to the genre regularly. Clearly, Cracker Barrel guests are interested in Country artists.

Making it even sweeter in Josh Turner's case, the company typically buys spots on 10 radio stations in the markets where it advertises. In most cases, eight of the 10 stations are non-Country formats (talk, urban or some form of pop music), meaning Turner raised his profile significantly by lending his voice to their advertising campaign.

"That's been kind of cool for me to just reach out and go beyond the world of Country Music," the singer said. From the retailer's perspective, the albums generate additional revenue, but they also enhance awareness of the brand. When Cracker Barrel sponsored the Alison Krauss & Union Station tour in 2003, a significant number of her younger fans made a point in visiting the restaurant to pick up the CD because it couldn't be bought through any other store.

"Cracker Barrel obviously wants to bring people in and get them to eat at Cracker Barrel and become loyalists over time," Simon Turner offered.

But the company is also careful about working with artists that represent its core identity as a multi-generational family-style destination.

"It's about getting the right emotional connection and the right image connection," Simon Turner asserted. "We're also very concerned about authenticity. Take Josh and Amy Grant and Alison Krauss: These are all people that love Cracker Barrel, they eat at our stores, and it's been very important for us and with our relationships with them that when we've come to negotiate the deals that they've all been very positive about our brand. A major part of the interaction that we have with them is their ability to be ambassadors for us during the period that we have their CD on sale."

As key as non-traditional merchants might be to an artist's growth, the performer and Music Row still have their eye on the relationships with the bread-and-butter music retailers who've supported the industry over the long haul. It's important, Kline said, to fashion exclusive deals in a way in which "we're not competing against ourselves." In the case of the Turner album, it's a live album, something the label would not have released through usual channels at this stage in his career. Plus, it was timed as a bridge between Turner's previous double Platinum album, Your Man, and his third studio CD, which will likely be released later this year.

That doesn't mean that exclusive albums can't overlap with a regular project. Strait, whose albums are also distributed by Universal, put out his Hallmark CD on Nov. 1, exactly four weeks after the release of It Just Comes Natural.

"We give heightened awareness to something," said Ann Herrick, VP of Strategic Music Alliances at Hallmark. "So when you see George Strait [advertised] on TV, now you want some George Strait music. Some of that's [available at] Hallmark and some of that's regular studio albums, but I think a consumer just goes and buys George."

In the Cracker Barrel case, the restaurant is banking that consumers will continue to buy Josh Turner - along with their chicken and dumplings.

On the Web: www.crackerbarrel.com; www.hallmark.com; www.starbucks.com

Fans can catch Josh Turner perform on summer's hottest TV special "CMA Music Festival: Country's Night to Rock," airing Monday, July 23 (9-11PM/ET) on the ABC Television Network.  The special will feature heart-warming stories and riveting musical performances. In addition to Turner, artists performing include Jason Aldean, Dierks Bentley, Big & Rich, Brooks & Dunn, Kelly Clarkson, Sara Evans, Miranda Lambert, Little Big Town, Martina McBride, Reba McEntire, Brad Paisley, Kellie Pickler, Rascal Flatts, LeAnn Rimes, Sugarland, Taylor Swift, Josh Turner, Carrie Underwood and more.  Brooks & Dunn, Bentley, George Jones, Pickler and two-time "Dancing with the Stars" champion Cheryl Burke will appear in story segments in the special.

   

Images for above article.

 

 

 

 
Cracker Barrel CD display. Photographer: Patricia Presley
 
George Strait CD display at a Hallmark Gold Crown store. Photo courtesy of Hallmark
 
Josh Turner at Cracker Barrel display at the Ryman Auditorium. Photographer: Tamara Reynolds
 
Martina McBride; "My Heart;" Hallmark Gold Crown Stores. Photo courtesy of Hallmark
 

 

 

Issue Date: 7/3/2007  
 
Country Ambassador Reba McEntire Returns to Her Roots
By Deborah Evans Price

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Country Music superstar Reba McEntire is excited about returning to the stage and the studio this year. She's working on a duets album and is hitting the road this summer on her "Key to the Heart" tour, sponsored by Whirlpool on behalf of Habitat for Humanity.

One of the performances she anticipated the most was during CMA Music Festival on June 7 in Nashville. Kelly Clarkson joined McEntire on stage at CMA Music Festival to perform two songs - "Does He Love You" and their recent duet single, "Because of You," which will be featured on the Reba Duets album. Fans can catch their performance on summer's hottest TV special "CMA Music Festival: Country's Night to Rock," which airs Monday, July 23 (9-11PM/ET) on the ABC Television Network.  The special will feature heart-warming stories and riveting musical performances. Artists appearing include Jason Aldean, Dierks Bentley, Big & Rich, Brooks & Dunn, Sara Evans, Miranda Lambert, Little Big Town, Martina McBride, Brad Paisley, Kellie Pickler, Rascal Flatts, LeAnn Rimes, Sugarland, Taylor Swift, Josh Turner, Carrie Underwood and more.

McEntire has fond memories of her early appearances at CMA Music Festival, when she was an unknown redhead from Oklahoma.

"What I remember best is sitting there at the PolyGram/Mercury booth for about two hours, signing autographs," she recalled with a laugh. "One time Mama was there with me, and I had my little Sharpies in front of me and my little stack of pictures. Nobody was coming over, and finally this man and woman looked up at my name over my head and looked at me. Mama said, 'Get ready! Get ready!' They walked over to me and I said, 'Can I help you?' And they said, 'Do you know where the bathroom is?' That was my introduction to the CMA Music Festival."

Of course, since that auspicious debut McEntire has become one of Country Music's most accomplished entertainers. She's sold more than 49 million albums and scored 33 No. 1 hits, among them such signature tunes as "Whoever's in New England," "Somebody Should Leave" and "For My Broken Heart." Her trophy case includes seven CMA Awards, two GRAMMYs and a slew of other awards.

McEntire made her Broadway debut in 2001's "Annie Get Your Gun" and impressed the New York theater crowd, winning both the Drama Desk and Outer Critics Circle Awards. Her acting chops and comedic timing also served her well during six seasons of "Reba," which she credits with bolstering her skills in many areas.

"I loved working with all the cast and crew of the 'Reba' show," she said. "We became a tight-knit, well-oiled machine! I loved the experience. It was one of the best six years of my life. We're all still friends and stay in touch with each other."

McEntire returns to the stage as Nellie Forbush in "South Pacific" at the Hollywood Bowl in Los Angeles on Aug. 3, 4 and 5. Still, her focus has shifted back to the studio, where she has been working on Reba Duets for MCA Nashville, set for release in the fall. In addition to the Clarkson duet, the album will include performances with Kenny Chesney, Ronnie Dunn of Brooks & Dunn, Vince Gill, Don Henley, Faith Hill, Carole King, Rascal Flatts, LeAnn Rimes, Justin Timberlake and Trisha Yearwood.

Some of the guests on the new duets album will surprise McEntire fans, including Timberlake, with whom she recorded what she described as "a Celtic ballad, a beautiful love song" that Timberlake wrote with Matt Morris, son of veteran Country artist Gary Morris.  She is particularly excited about the song she found to perform with Henley. "It's brand new," she said. "It was a song that I fell in love with and he said 'yes' to it, which was a thrill because I've always been a huge fan of Don Henley."

"Working with Reba and her team was a real pleasure," Henley said. "The session was very professional and yet very casual and low-key. Reba is from small-town Oklahoma and I'm from small-town Texas, so we share a cultural heritage that creates a comfort and a mutual understanding.

"Singing with her, of course, is the icing on the cake," he continued. "We were actually singing with the musicians playing live in the studio rather than with a prerecorded track, which always adds a little bit of extra emotion. There was also a pleasant surprise because two of the musicians happened to be my old friends, [bassist] Lee Sklar and [drummer] Russ Kunkel, neither of whom I had seen in some time. There was even some barbecue. It was a good day."

For Tony Brown, who co-produced the album with McEntire, watching every artist's reaction to working with her was a special treat. "All of them just loved to hear Reba sing," he said. "She just blows them away. It was fun watching the respect on their faces, and I loved seeing Reba sort of bask in that."

The project also reunited McEntire with Dunn, with whom she penned a new tune for the album. "A bunch of us had dinner together in Vegas a few months ago," Dunn explained. "Reba told me that she was thinking about recording a duets record and asked if I would write a song and sing it with her. I told her that I would, under the condition that she would write it with me and wear Wrangler jeans and a rodeo buckle when we recorded it. She has a great sense of humor, but I'm not sure she thinks I'm as funny as I do."

The song they created, "Does the Wind Still Blow in Oklahoma," was as much fun for Dunn to record as to write with his longtime friend. "She's a stylist," he insisted. "No one else on Earth sounds like her. I have a great deal of respect for what she's accomplished. She gave me and Kix [Brooks] the opening spot on our first major tour. She was on fire and she sold out every place she played. Years later we toured again, as co-headliners. I will always be grateful to her and Narvel [Blackstock, McEntire's husband and manager]."

In addition to all these facets of her career, McEntire has been involved since 2005 with creating a line of women's clothing available at Dillard's stores and online at www.rebawear.com. Last year she expanded the endeavor to include bedding and home products. "We have comforters, shams, pillows and bedspreads, valances and curtains, sheets and now everything for the bath: towels, shower curtains, soap dishes, toothbrush holders and that kind of thing," she said enthusiastically. "Narvel and I love the creative side of the clothes, bed and bath. It's a lot of fun - one more thing we get to do together."

Her goal is to create clothes for women's busy lifestyles and changing bodies. "I want them to wear well and have great quality material and stretch in them," she said. "You can grow with them and they will grow on you. I fluctuate on my weight five pounds here and there. Sometimes they're tight on me and sometimes a little bit looser, but I want them to go with me when I fluctuate in weight. A little bit of Spandex in everything is important."

One impact of this diversity in her interests has been to draw new listeners to Country Music. She admitted that people have told her, "I don't like Country Music but I like yours," to which she responded, "Well, you ought to listen to more Country Music. I think you'd like it."

Still, she downplays the role she continues to play in growing the genre. "A lot of people in Country Music today are reaching out to other people," she said. "If I've helped, I sure am tickled to do it. I said from the beginning that I'll carry the banner of Country Music forever and be proud to do it. I said it then and I love doing it now."

On the Web: www.reba.com

   

Images for above article.

 

 

 

 
Reba McEntire performs at the Nightly Concert at LP Field during the 2007 CMA Music Festival. McEntire will appear in the ABC special, "CMA Music Festival: Country's Night To Rock" on July 23.
Photo: John Russell / CMA

 

Reba McEntire & Kelly Clarkson perform at the Nightly Concert at LP Field during the 2007 CMA Music Festival. McEntire & Clarkson's duet will appear in the ABC special, "CMA Music Festival: Country's Night To Rock" on July 23.
Photo: Jim Hagans / CMA

 

Reba McEntire performs at the Nightly Concert at LP Field during the 2007 CMA Music Festival. McEntire will appear in the ABC special, "CMA Music Festival: Country's Night To Rock" on July 23.
Photo: John Russell / CMA

 

Reba McEntire; MCA Nashville; Photographer: Ron Davis
 

 

 

Issue Date: 6/26/2007  
 
Jason Aldean: A Year to Remember
By Keith Ryan Cartwright

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Sitting on his bus parked outside of the Pengrowth Saddledome in Calgary, Canada, Jason Aldean paused to gather his thoughts before declaring, "Yeah, it's been a weird year."

If you consider snow in Las Vegas weird, yeah, it has been a weird year for Aldean. And if you consider the fire that ravaged Treasure Isle, the studio he was using to record the follow-up to his Platinum self-titled debut, it's been a really weird year for the Georgia native.

"I almost had a heart attack," Aldean recalled, of the phone call he received from producer Michael Knox. "He was like, 'Everything's cool, but the studio caught fire.' I was really nervous. You hit stuff the first time that's just on instinct. I would have hated to try and recreate it ... but once he said the masters were fine, I was OK."

"The first single is 'Johnny Cash,' and we really mixed it in a ring of fire," joked Knox, who started mixing the new album two days later amidst the reconstruction process. "We had to mix in all the ash and change clothes twice a day. It was awful, but I had no choice."

The fire happened on a Saturday in mid February, while Aldean was in Vegas filming a video with director Wes Edwards for "Johnny Cash." During an otherwise cold month in Music City, the emerging singer/songwriter thought a trip to the desert would have been a reprieve from the winter-like weather. Not so, as it snowed the day he filmed the video.

"I sure hope this is not a sign of things to come in '07," said Aldean, only half in jest.

For the past two years, though, everything has seemed to be working, especially since the release of his sophomore album Relentless, a groove-laden collection that borders on a rock 'n' roll sound.

"We're ready for some new music," he admitted. Two years ago, when Knox and his touring band cut Aldean's debut, no one knew exactly who would make up his fan base. This time, however, they have a better idea of who the fans are and what they want.

"The first record struck a nerve," Aldean said. "You want songs you like and songs they can relate to, but it's kind of a balance."

If the early success of "Johnny Cash" forecasts how fans and radio will react to the new album, then Aldean is poised for his fourth trip into the Top 10. Less about Cash as a person and more about the Man in Black as a symbol of freedom, "Johnny Cash" resonated immediately with those who have heard the hardhitting tune about a man willing to abandon his cramped routine for a life with fewer constraints.

"It embraces the attitude of Johnny Cash," Aldean explained. "I was going to put it on my first record."

Unfortunately, the publishers of the song wound up holding it for another artist. Though disappointed, Aldean responded by cutting "Hicktown," which like "Johnny Cash" included John Rich of Big & Rich and Vicky McGehee among its writers. (Big Kenny also co-wrote on "Hicktown," while Rodney Clauson shares writer credits on "Johnny Cash.")

Amidst the success of the first album, Aldean and Knox never stopped listening to "Cash," and when they started selecting songs last year, fortunately for them, "Cash" hadn't been recorded. "I still wanted to cut it," Aldean said. "'Hicktown' was a great song to introduce us with, and 'Johnny Cash' became a great intro to the second album."

"The cut you hear on the radio is the one I cut at Warner Chappell," Knox explained. "It was the one I cut to get him his record deal and the one that everyone passed on. We just went in and remastered it."

Aldean's growth as a singer is evident on Relentless. Be it the vocals of "Grown Woman," a duet with Miranda Lambert, the swampy "I Break Everything I Touch," or the hard-driving "Back in This Cigarette," Aldean solidifies the raucous, goodtime attitude he established the first time around.

"It's more me personally finding my niche," Aldean explained, "knowing what I like to sing, what comes off in the live shows and what works for me. It has the same vibe as the first album. There are some cool things on there, and we cut some things that may never be heard on the radio but they were cool to us." The "we" he refers to is the band he's toured and recorded with for the past nine years. They've embraced their success as a group, with Aldean pointing to one particular show in Portland, Ore., late in 2005, as the moment they knew their collective efforts were beginning to pay off.

"The crowds were getting a little bit bigger," Aldean said. "Until then they were honky tonks and we just happened to be there, but that night they were coming to see us. We started playing 'Hicktown' and they started singing back, word for word. That's when I realized we were making an impact outside of Nashville and Georgia.

"We're still building a fan base. We had a couple big weeks. But it's been a steady build, which is great 'cause now we're getting ready to drop the second album. It's perfect timing."

It hasn't always been this perfect.

In the summer of 2003, Aldean was ready to "throw in the towel," as he put it. His first record deal didn't materialize into anything. His publishing deal was about to expire and it didn't look as though it would be renewed. He was married to his high school sweetheart and they were expecting their first child to go along with a mortgage and two car payments he could no longer afford.

Just days before moving back to his hometown of Macon, Ga., and reprioritizing what was most important to him, he got a call saying that Broken Bow founder Benny Brown, who resurrected Craig Morgan's career, was interested in signing him. Aldean stopped applying for new jobs, put off the move home, and by January 2004, he was signed.

His debut Platinum-selling album spawned three successive Top 10 hits: "Hicktown" (No. 9), "Why" (No. 1) and "Amarillo Sky" (No. 4). More than 18 months later it remained the oldest release on Billboard's Top 20 Country Albums Chart.

The sweetest part of this picture, Aldean noted, is the creative freedom that transpires when "not only are you an artist on a label, but you experience everything together for the first time. It doesn't happen every week. When a milestone happens, it's a big deal - and it should be."

The milestones and success he had at radio have led also to extensive touring, which hasn't been easy on his family. But, Aldean observed, "you have an obligation to your career. It's not ideal for all families ... but it's our lifestyle."

Aldean will perform on the summer's hottest TV special, "CMA Music Festival: Country's Night to Rock," which airs Monday, July 23 (9-11 PM/ET) on the ABC Television Network. The special will feature heart-warming stories and riveting musical performances. Artists Dierks Bentley, Big & Rich, Brooks & Dunn, Sara Evans, Martina McBride, Reba McEntire in a duet with Kelly Clarkson, Brad Paisley, Kellie Pickler, Rascal Flatts, LeAnn Rimes, Sugarland, Josh Turner, Carrie Underwood and more will be featured.

 

 

 

 

 
Jason Aldean; Broken Bow Records
Photo: Kristin Barlowe

 

Jason Aldean; Broken Bow Records
Photo: Kristin Barlowe

 

Jason Aldean performs at the Nightly Concert at LP Field on Friday, June 8 in Downtown Nashville during the 2007 CMA Music Festival.
Photo: John Russell / CMA

 

Jason Aldean performs at the Nightly Concert at LP Field on Friday, June 8 in Downtown Nashville during the 2007 CMA Music Festival.
Photo: John Russell / CMA

 

 

 

 

Issue Date: 6/19/2007  
Up from Down Under with Australia's Adam Harvey
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Adam Harvey has the look. Handsome, 6' 3", rangy, a little sultry, he projects a rugged-yet-sensitive charisma, brightened now and then with a grin that suggests a sly sense of humor. It's a look that says Country all the way.

All the way, that is, back to Australia, home base to Harvey, winner of this year's CMA Global Country Artist Award. He's had a solid career there since 1999, when the Country Music Association of Australia gave its Golden Guitar Award for Best Vocal Collaboration to the young performer and another rising star for their duet single, "Drive Away."

By 2002, he had found his own place in the spotlight, thanks to the CMAA's decision to name Harvey Male Vocalist of the Year and honor his album Workin' Overtime as Album of the Year. From the opening chord on track one, "The House That Jack Built," a Telecaster shimmer that melts into a sizzling, fiddle-and-steel-sweetened dance-floor groove, his feel is right on target. And when his baritone voice hits the first verse, its smooth timbre and relaxed way with a phrase make it clear that Harvey is an artist with a future far beyond his turf.

Looks, then, are only part of the picture: Harvey's voice, songwriting talent and his lifelong love for Country Music are the real keys to his success.

"I was 'brainwashed' with Country Music as a kid by my dad," Harvey said. "He had a great record collection and knew everything about the great singers of the '60s, '70s and '80s. I remember sitting next to the stereo as a kid, learning all those great old songs on my guitar."

From the first time he heard Tom T. Hall's "Old Dogs, Children and Watermelon Wine," Harvey devoted his life to Country Music. He first topped the Australian Country Music charts in 1999 with "Gypsy Queen," one of a string of singles spun from his first album, Sugar Talk. His ascension was swift, leading him in less than a year to Nashville for his debut on the Grand Ole Opry. Since then he has recorded three more solo albums - Workin' Overtime, Cowboy Dreams and Can't Settle for Less, each of which has been certified Gold (35,000 units) by the Australian Recording Industry Association. Honors have come his way too, including two more CMAA Male Vocalist of the Year awards, in 2004 and '05, and an Australian Centenary Medal, presented by Prime Minister John Howard.

Harvey returned to the United States in 2004 for another appearance on the Opry and gigs at other venues. The more he played, the more evident - and amusing - differences he noticed between American and Australian audiences.

"The biggest difference is that America has 10 times the population of us, which means that the crowds are much bigger than we're used to," he said. "There are also words we use in Australia to describe some things, but in the States that word can mean something totally different. A 'thong,' for example, is a thing you wear on your feet back home - but I've found out it's something very different in your country."

Crowds may be bigger in the United States, but the future for Country Music in Australia seems unlimited to Harvey.

"Country Music is in good shape Down Under," he insisted. "We're producing music at a much higher standard and selling as many albums as mainstream acts, which would never have happened 10 years ago. Our biggest hurdle is getting more radio airplay. We have several dedicated Country radio stations and programs across Oz, but Country Music could use some more support from our mainstream radio too."

On June 9, at this year's CMA Music Festival in Nashville, CMA COO Tammy Genovese and Jeff Walker, President of AristoMedia and Chairman of the CMA Global Markets Committee, presented Harvey with his CMA Global Country Artist Award, at his performance on the Greased Lightning® Daytime Stages at Riverfront Park.

"Adam Harvey's international outreach in recent years makes him a worthy recipient of this award," Walker said. "In addition to his huge success in his native Australia, Adam has been successful in recent tours in Canada and Ireland. His personal commitment to global outreach should only be enhanced by this well-deserved honor."

On the Web: www.adamharvey.com.au
 

   

Images for above article.

 

 

 

 
CMA Global Artist Award winner Adam Harvey. Photo Credit: Pierre Baroni
Photo: Amanda Eckard / CMA

 

Adam Harvey performs at the "Wrangler Wide World of Country Show" at the Greased Lightning® Daytime Stages at Riverfront Park on Saturday, June 9 in Downtown Nashville during the 2007 CMA Music Festival.
Photo: Theresa Montgomery / CMA

 

Adam Harvey performs at the "Wrangler Wide World of Country Show" at the Greased Lightning® Daytime Stages at Riverfront Park on Saturday, June 9 in Downtown Nashville during the 2007 CMA Music Festival.
Photo: Theresa Montgomery / CMA

 

CMA Chief Operating Officer Tammy Genovese and CMA Board Member Jeff Walker present Australian Adam Harvey with the 2007 CMA Global Country Artist Award at the Greased Lightning® Daytime Stages at Riverfront Park on Saturday, June 9 in Downtown Nashville during the 2007 CMA Music Festival.
Photo: Theresa Montgomery / CMA

 

Strong Slate of International Candidates Vie for Fifth Annual CMA Global Country Artist Award
By Scott Stem

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

The nominees for the CMA Global Country Artist Award are as diverse in style as they are in region. Initiated in 2002 by CMA's Global Markets Committee, the Award recognizes outstanding achievement by a Country artist who has furthered the popularity of Country Music and brought attention to the genre in their foreign-based territory.

"As CMA continues to promote Country Music around the globe, we honor the artists who perform Country Music in their homelands and beyond," said CMA Chief Operating Officer Tammy Genovese. "On CMA's international trips, I have learned how important recognition from CMA is to Country Music artists in other nations as they continue to build their careers."

"These eight artists have all achieved great success in their countries as well as other territories," said CMA International Director Bobbi Boyce. "CMA is proud to recognize the success of all the nominees."

Tom Astor (Germany) - His first album on EMI went Gold (15,000 units) in Switzerland in 1980. Five years later, Astor's hit, "Hallo, Guten Morgen Deutschland (Hello, Good Morning Germany)," was released in Germany. Astor has released more than 40 albums, including three Gold. He has hosted TV specials and is a member of the Germany Country Music Hall of Fame. In 1995, he released an album of duets with Emmylou Harris, Waylon Jennings, Willie Nelson, Buck Owens and more. A second album of duets was released in February, with performances by The Bellamy Brothers, Billy Ray Cyrus and Kenny Rogers among otheres. Astor co-founded and is Chairman of the German American Country Music Federation.
On the Web: www.tom-astor.de

Calaisa (Sweden) - The group formed at an early age and is made up of two sets of sisters (Lisa and Caisa, Anna and Malin). The adventurous foursome toured Ireland and Poland before they traveled to the United States to perform and network. Signed to UMG Nashville by (former Co-Chairman) James Stroud, the group recorded their debut album, released in Sweden in September 2006. Calaisa opened Simply Red's UK tour last summer before touring solo in Denmark and Sweden. In January, Swedish television Temalordag (SVT 2) broadcasted a documentary on Calaisa filmed over the last 18 months.
On the Web: www.calaisa.com

Rodrigo Haddad (Brazil) - With a career that spans more than a decade, Haddad released his album Ten Years and More to Come in December 2005 and has received airplay in several territories. While promoting Country Music in Brazil, Haddad also performs outside his native country, including the annual San Pedro Country Music Festival in Argentina. He has performed at the CMA Global Artist Party and the Global Acoustic Showcase. Haddad also writes about Country Music for Brazilian magazines, covering events around the globe.
On the Web: www.rodrigohaddad.com

Adam Harvey (Australia) - Harvey has enjoyed a career with many defining moments - including achieving Gold (35,000 units) for three albums. He is one of Australia's most awarded Country performers in the last decade, winning the Australian Country Music Association Awards for Male Vocalist in 2002, 2004 and 2005; and Album for Workin' Overtime in 2002. John Howard, the Prime Minister of Australia, gave Harvey the Australian Centenary Medal. Harvey is the current holder of the Centre for Cultural Materials Conservation's Artists Excellence Award. Although based in Australia, Harvey has toured the world including performances at the Grand Ole Opry in Nashville in 2001 and 2004; two successful Canadian tours in 2004 and 2005; and a performance in China in 2005 as the representative for Australian Country Music and the Tamworth City Council. Last year, Harvey was the Ambassador for the Telstra Road to Tamworth and served as the tour host and media front man for the CMA Australian Advisory Group's travel initiative to CMA Music Festival.
On the Web: www.adamharvey.com.

Corb Lund (Canada) - Lund received a Juno Award in 2006 for Solo Roots and Traditional Album of the Year for Hair in My Eyes Like a Highland Steer, which was certified Gold (50,000 units) in Canada. The album, also released in Australia and Europe, was named the 2006 Canadian Country Music Association's Album of the Year and Lund was named the Roots Artist of the Year. The title video was No. 1 for two weeks on CMT Canada and No. 1 on Australia's Country Music Channel. In addition to extensive touring in Canada, Lund has also toured Australia, Denmark, France, Germany, Ireland, the UK and the United States. On the Web: www.corblund.com.

Melinda Schneider (Australia) - Schneider made her stage debut at age 3 alongside her mother, yodeler Mary Schneider. She launched her solo career in 1999 with "Love's Out to Get Me," and released four albums. Schneider has received four Australian Country Music Association Awards including 2000 Vocal Collaboration with Adam Brand on "Love Away the Night;" 2003 Female Vocalist; 2005 Album for Family Tree; and 2005 APRA Song for "Real People" (co-written with Michael Carr). Her current album Stronger, was recorded in Nashville and featured her songwriting collaborations with Elizabeth Cook, Gordon Kennedy and Wayne Kirkpatrick, among others. Schneider received four ACE (Australian Club Entertainer) Awards and four Mo Awards (Australian Entertainment).
On the Web: www.melindaschneider.com.

Rachael Warwick (United Kingdom) - Warwick was the recipient of the 2006 UK Country Radio Award for Album of the Year for her debut, AngloAmericana. During the past year, she has performed at major UK and European Country Music festivals. She performed at the U.S. Ambassador's residence in London in honor of George Hamilton IV, and she was the sole UK Country artist to perform on the TNT show broadcast on national French television. She was a part of Gibson's global "The Girls of Epiphone" promotion alongside Miranda Lambert, Gretchen Wilson and Nancy Wilson of Heart, among others.
On the Web: www.rachaelwarwick.com.

Michelle Wright (Canada) - Since her 1988 debut on Savanna Records, Wright has sold more than 800,000 albums in Canada. She has achieved 25 Top 10 hits at Canadian radio, seven of which reached No. 1. During her 10 years on Arista Nashville, she sold more than 600,000 albums in the United States, becoming the first Canadian born artist in the modern era of Country to have a Top 10 hit in America and a No. 1 video on CMT. During her 25-year career, she has performed on every continent except Antarctica.
On the Web: www.michelle-wright.com

Candidates for the CMA Global Country Artist Award are chosen from artists nominated by CMA's international membership.

 

 

2007 CMA Music Festival Breaks Attendance Record With More Than 191,000 Country Music Fans Attending
By Wendy Pearl

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

CMA Music Festival set a new aggregate attendance record in 2007 with 191,154 people attending the four-day Festival, June 7-10, in Downtown Nashville.

"It was an amazing event on many different levels - from the outstanding lineup of artists; to our incredibly enthusiastic fans, who traveled from around the globe to be here; to the outpouring of support from Nashville and our surrounding communities," said Tammy Genovese, CMA Chief Operating Officer. "Each year I find myself saying this, and it is happening again in 2007, but this is the best CMA Music Festival ever."

Attendance at the Festival hit an all-time high. Single concert tickets for the Nightly Concerts at LP Field were up 14 percent from 2006. In fact, CMA opened the upper level of LP Field to meet the demand for four-day ticket packages and single night concert tickets. CMA also experienced a 20 percent increase in the sale of four-day ticket packages.
 
"Increased single concert ticket sales are an indication of increased local support and participation in the Festival," Genovese said. "It is a trend that started two years ago and we are seeing it grow from year to year. Local companies and individuals are embracing this event as never before - especially now that it benefits music education. In fact, we had 400 Metro Nashville students attend Saturday night thanks to the generosity of the Nashville Area Chamber of Commerce."
 
Fans enjoyed themselves and made it known at the Box Office. Tickets for CMA Music Festival 2008, June 5-8, went on sale Saturday and Gold Circle four-day ticket packages sold out in a record 90 minutes. By Sunday, advance sales bested sales during the same period in 2006, by a robust 25 percent.

"You know you are giving the fans what they want when they put down their hard-earned money for an event and we haven't even announced who will be performing," Genovese said. "That speaks to the dedication of our fans, the popularity of the Festival and the strength of our format."

Aggregate attendance has grown from 124,000 in 2003, to 132,000 in 2004, 145,000 in 2005, to 161,000 in 2006, and now more than 191,000. Increased sales of four-day ticket packages and single concert tickets at Riverfront Park and LP Field contributed to the growth, as well as record attendance at CMA Music Festival's free areas - including the Crisco® Family Zone, CMT® Fun Zone, and Chevy Sports Zone.

Several factors accounted for the increase attendance: sales of four-day ticket packages outpaced 2006 sales; there was an extensive local advertising campaign to drive awareness; additional free performance stages were added; and with the exception of a brief storm Friday, hospitable weather helped stimulate sales of single-day tickets. Even on Sunday, four-day tickets, which allowed access to LP Field, the Convention Center and the Riverfront concerts, were still being sold.

Surprise appearances are a hallmark of this event. And 2007 didn't disappoint. The first night at LP Field included an unannounced appearance by first season "American Idol" winner Kelly Clarkson, who joined Reba McEntire on two songs - "Does He Love You" and their recent duet release "Because of You." On Friday evening Motor City madman Ted Nugent joined Montgomery Gentry onstage for a ferocious rendition of his classic "Cat Scratch Fever." And reigning CMA Vocal Group of the Year Rascal Flatts made a surprise concert appearance the following night.

"We love giving our fans something special and unexpected," Genovese said. "It is amazing to hear the stadium erupt in applause when an unannounced guest steps out on that stage."

And it all benefits children and music education in Nashville. The artists and celebrities participating in CMA Music Festival donate their time. They are not compensated for the hours they spend signing autographs and performing. In appreciation of their exhaustive efforts, CMA donates half the net proceeds from the event to music education on their behalf through a partnership with the Nashville Alliance for Public Education called "Keep the Music Playing."

To date, CMA has donated more than $1.1 million to worthy causes on behalf of the artists who participate in the Festival for free - including $368,500 from the 2006 CMA Music Festival for "Keep the Music Playing." Several students groups participated in the Festival including drum corps from Hillwood High School and Hunters Lane High School, who marched in the Kick-Off Parade along with students from the Nashville School of the Arts, which received a Chevy Silverado truck to transport band equipment to community performances as part of the "Keep the Music Playing" campaign.

During opening night ceremonies, CMA Board member Kix Brooks of Brooks & Dunn presented $10,000 to "Keep the Music Playing" on behalf of Nashville Mayor Bill Purcell in appreciation of his support of the Festival during his tenure.

The $10,000 donation has been earmarked by the Nashville Alliance and Metro Nashville Public Schools to purchase a sound system and lighting for the performance center at Isaiah T. Creswell Middle Arts Magnet School.

The charity donation is appreciated, but at its heart, CMA Music Festival is - and always will be - about the fans and their relationship with the artists and the music. The theme is universal and in 2007, Festival attendees came from every state and 21 foreign countries including Australia, Austria, Canada, Chile, Denmark, Finland, France, Germany, Ireland, Italy, Japan, the Netherlands, New Zealand, Norway, Poland, Portugal, Spain, Sweden, Switzerland, and the United Kingdom. Fans ranged in age from 1 to 92-year-old Sylvia Leeper of Tennessee.

The Festival got underway Wednesday with "The Third Annual CMA Music Festival Kick-Off Parade" with an estimated crowd of 10,000 spectators Downtown. Following the procession, the fun kicked into high gear with "The Second Annual CMA Music Festival Block Party" at the Chevy Music Tour Stage on the plaza at The Sommet Center, formerly Nashville Arena. Jason Michael Carroll, Mark Chesnutt, Elizabeth Cook, Cowboy Troy, Jennifer Hanson, and Darryl Worley performed for an estimated crowd of 5,000 according to police.

Nightly Concerts at LP Field
In all, 32 acts participated in the star-packed Nightly Concerts at LP Field. The lineup Thursday included Trace Adkins, Dierks Bentley, Brooks & Dunn, Alan Jackson, Reba McEntire with special guest Kelly Clarkson, The Wreckers, and a two-song acoustic performance by Jason Michael Carroll. Pre-show activities included Jennifer Hanson, singing the national anthem, the participation of the United States Marine Corps Recruiting Station Nashville Color Guard, and a fly over by three Air Force FA-18s from The Checkerboards of Marine Fighter Attack Squadrons VMFA 533, 122 and 312 from Marine Corps Air Station, Beaufort, S.C.

During her first performance at the Festival in 11 years, McEntire, was obviously moved by the adoring crowd's thunderous welcome. She spoke with heartfelt gratitude when she said, "Ah, it's good to hear that."

Fans were treated to performances Friday by Jason Aldean, Sara Evans, Little Big Town, Montgomery Gentry with guest Ted Nugent, Sugarland, and Carrie Underwood, who made her first Festival appearance in 2005 after being named American Idol. Former "American Idol" finalist Bucky Covington performed an acoustic set.

Saturday's lineup included Billy Ray Cyrus, Martina McBride, Jo Dee Messina, surprise guest Rascal Flatts, LeAnn Rimes, and Josh Turner. "Nashville Star" winner Angela Hacker delivered an acoustic performance.

Sunday rocked the house with Rodney Atkins, Big & Rich, Billy Currington, Miranda Lambert, Brad Paisley, Kellie Picker, Taylor Swift, Gretchen Wilson, and an acoustic performance by Telstra Road to Tamworth winner Morgan Evans of Australia. Apollo Ohno's professional dance partner Julianne Hough from "Dancing with the Stars" introduced Big & Rich.

 "This is the best night of the year for people who love Country Music," Wilson proclaimed to her cheering supporters.

Greased Lightning® Daytime Stages at Riverfront Park
Fan favorite Terri Clark got the 2007 CMA Music Festival off to an energetic start Thursday morning with her distinctive brand of power Country at the kick-off concert at Riverfront Park. Fans were waiting before dawn to see the leave-'em-rockin' singer/songwriter. And the concert venue on the banks of the Cumberland River stayed packed all day and every day after.

Clark bonded with her audience immediately through a subject that was on everyone's mind - the already-rising temperature that morning: "This is supposed to be the hottest day this year, of course, because it's the first day of CMA Music Festival!"

Joining Clark in the opening morning show were John Anderson, Craig Morgan, Jamie O'Neal, and Chris Young. And the dual stages bustled throughout the four days with a rich array of performers from both major and independent record labels. In all, 101 acts performed more than 33 hours of concerts. The concerts stopped for 90 minutes Friday due to a downpour with lightning and high winds, but the artists and fans returned when the storm passed without a single missed performance.

A half block away on the third-floor, rooftop patio at Graham Central Station overlooking Riverfront Park, "Good Morning America" Weather Anchor Sam Champion interviewed artists Bucky Covington and The Wreckers live on the ABC Television Network in front of an enthusiastic, sign-toting crowd.

Fan Fair® Exhibit Hall
The state of continuous commotion that's been the standard for the Fan Fair Exhibit Hall was back in force with 349 artists and celebrities appearing at the Nashville Convention Center. Exhibit booths sold out with 212 exhibitors. Attendance over the four days was up 15 percent from 49,507 in 2006 to 56,244 in 2007.

As in previous years, dedicated fans camped out on the street outside of the Exhibit Hall starting at 8:00 PM, not only in hopes of being the first in line for autographs when the doors opened the following morning but also to share in what has become a special tradition for this group. As one of these early arrivers commented, "We're friends from all over the country. It's like a reunion."

Observers estimate that Carrie Underwood attracted the longest autograph lines, due in large part to the fact that she dedicated the bulk of her time Saturday to meeting her fans and signing more than 600 signatures. Other popular artists included Trace Adkins, Big & Rich, Jason Michael Carroll, Billy Currington, Billy Ray Cyrus, Beverley Mitchell, Montgomery Gentry, Gretchen Wilson, Chris Young among many, many more. Kix Brooks of Brooks & Dunn made a surprise appearance in the Exhibit Hall Thursday. One of the Fan Fair highlights was when Big Machine Records presented Taylor Swift with a Platinum plaque in their booth for her self-titled debut so she could share the moment with her fans. Rock singer John Waite ("Missing You") made his CMA Music Festival debut by signing in the Borders® Books & Music booth on Friday. And CMA COO Tammy Genovese stopped by to congratulate Country Music Hall of Fame member Bill Anderson on having an Exhibit Hall booth every year since the Festival began as Fan Fair in 1972.

The Acoustic Corner Presented by Mary Kay, which launched in 2004 as a showcase for independent artists, featured 24 solo or group performers. The area on the second floor of the Convention Center hosted a steady stream of fans.

Premiere on the Air
CMA's official radio partner, Premiere Radio Networks, brought 20 of Country radio's top-rated stations including Atlanta, Baltimore, Charlotte, Chicago, Cleveland, Columbus, Denver, Detroit, Indianapolis, Los Angeles, Louisville, Memphis, Nashville, Portland, Raleigh-Durham, San Diego, Seattle, St. Louis, Tampa, Washington, D.C., and overnight syndicated radio program "After MidNite with Blair Garner" to Nashville for three days of remote broadcasts from the Convention Center. Seventy-five artists, celebrities and athletes participated in the remotes reaching nearly 10 million listeners.
 
Borders Books & Music
Borders had locations at the Exhibit Hall, Riverfront and LP Field. The Top 5 selling titles belonged to Jason Michael Carroll, Stephen Cochran, Beverley Mitchell, Carrie Underwood, and Chris Young. Other bestselling artists included Jason Aldean, Big & Rich, Bucky Covington, Emerson Drive, Little Big Town, Sugarland, Taylor Swift, and Josh Turner. Organizers said autograph sessions for several of the top-selling artists in the Borders' booth contributed to their sales success.

"One of the goals with this event is to help build a marketing platform for developing artists," Genovese said. "With the variety of artists on the list, it tells me that our fans are discovering new music at CMA Music Festival and they aren't waiting until they get home to buy it."

CMA Music Festival Merchandise
The official CMA Music Festival merchandise line was very popular with attendees. According to Music City Merchandise, which designs and produces the 20-piece collection, sales were up 25 percent over 2006. Extra inventory was printed during the Festival to meet the demand and quickly sold out. Music City Merchandise, which had booths at the Fan Fair Exhibit Hall, Greased Lightning Daytime Stages, Crisco Family Zone, The Sommet Center, and LP Field, has been CMA's merchandise partner for the past 13 years.

 

 

Chevy Sports Zone
CMA's free Chevy Sports Zone was a huge hit with participants and fans looking for fun and friendly competition among celebrities, artists and athletes.

 

 

On Thursday the surest shot at the "The Sixth Annual Andy Griggs Celebrity Archery Tournament" was Rusty Tabor, winner of the 2006 tournament. He retained his crown after tying with Craig Morgan at 43 points each and then winning a five-target shootout (42 to 39). Rhean Boyer of Carolina Rain finished third with 41 points.

On Friday, "The Steve Azar Celebrity Sports Challenge" proved to be a fan favorite with an amazing array of sports champions and celebrities competing along with Azar and other artists. In the end, the Blue Team was victorious with Andrew Abide (a.k.a., the "dentist to the stars"), Rocky Calmus (linebacker, Titans/Colts), Jeanne Cho-Hunicke (LPGA Tour player), Ray Lloyd (pro wrestler), Ryan Lucotch (The PovertyNeck Hillbillies), and Scott Reeves (Blue County) winning with a score of 98.  

Sunday's "The Michael Peterson/New Holland Celebrity Tractor Race" had fans revved up. Country Music artists and celebrities raced against the clock through an obstacle course on a New Holland compact tractor and the winner was Todd Fritsch, with a track time of 52.6 seconds, followed by Tennessee Titan Ben Hartsock (54 seconds) and artist Billy Yates (54.5 seconds). Fritsch shaved 1.4 seconds off 2006 victor Wade Hayes' winning time of 54 seconds.

As an added attraction, Jay Leno's Eco-Jet, biodiesel-powered automobile was on display at the Sports Zone on Saturday and Sunday.

Chevy Music Tour 
The Chevy Music Tour free area on The Sommet Center plaza buzzed with activities featuring vehicle displays, interactive consumer experiences, games, and the Chevy Ride & Drive event. The Chevy Music Tour Stage featured 25 daily performances including a showcase of Bluegrass music and a Latin Country Music Show. Visitors were also able to test-drive an Avalanche, Cobalt SS, Colorado Crew Cab, HHR, Impala SS, Tahoe or one of three Silverados (1500 Crew Cab, Extended Cab or HD with Duramax).

Crisco Family Zone
Growing in popularity each year since it was introduced in 2001, the free Crisco Family Zone was buzzing during CMA Music Festival with activities for youngsters and the young at heart.

The Crisco Family Zone was a popular destination Sunday for the Crisco® Family Picnic, featuring free lunch for the first 500 attendees. The meal was made from recipes found in the Crisco® Country Favorites Vol. III Recipe Book. Nationally-recognized chef Jon Ashton conducted cooking demonstrations throughout the Festival.

Before the Festival got officially underway, the Crisco Country Favorites Cook-Off Contest took place Wednesday at the Downtown Hilton Hotel. The Cook-Off winner was culled from thousands of mouth-watering entries. Of the 12 finalists who competed in Nashville, Beth Royals, of Richmond, Va., was the Grand Prize winner for her tasty Coffee Toffee Tart.

Saturday fans gathered under a tent in the Family Zone for "The 24th Annual YWCA Celebrity Auction hosted by Martina McBride" with proceeds supporting programs to benefit victims of domestic violence. The auction, which has been hosted by McBride since 1995, raised $103,603. The highest bid was $12,000 for a collection of six Platinum albums McBride solicited on the spot from some of her famous friends; an autographed photo paired with a VIP package from McBride brought $7,250; and a meet and greet and tickets to see Reba McEntire raised $3,400.
 
CMA and The Tennessean's Newspaper in Education program teamed up again in 2007 to present "The Fourth Annual Color Me Musical" poster and essay contest. Students in grades K-8 were asked to submit essays and posters describing their feelings about music or the importance of school music programs. The winner in the K-4 division was Tara Lang, 10, of Overbrook School, Nashville. In the 5-8 division, Jordan Shumate, 12, of Pioneer Christian Academy, Nashville, was the winner. Honorable mentions were awarded to Anna Berry, 7, of Grassland Elementary, Franklin, Tenn., in the K-4 group; and Nisha Bhuva, 10, of Brentwood Edmonson, Brentwood, Tenn., in the 5-8 division.

The Music City's Rising Star Youth Vocal Soloist Competition was held in the Crisco Family Zone with students from 35 states competing. The Top 5 finishers were announced Saturday on the Greased Lightning Daytime Stages. Earlier that day artist Erika Jo participated in a separate award ceremony at the Wildhorse Saloon. Winners included: Tara Clance, 16, of Georgia, fifth place; Brianna Tyson, 14, of California, fourth place; Keeghan Nolan, 15, of Vermont, third place; Amanda Stathos, 16, of Virginia, second place; and 16-year-old Avery Hovey of Tennessee was the first place finisher.

On Sunday, Greased Lightning and stars gave back to those in need by helping to construct the frame of a Habitat for Humanity home for a Nashville family. Artists participating in the construction project included Clayton Bellamy of The Road Hammers, Blue County, Ty Herndon, Jason Meadows, and Bryan White.

Chris McCarthy, President of the Nashville Area Habitat for Humanity remarked: "CMA Music Festival fans are like our volunteers - eager to help out and have a great time in the process."

CMA Celebrity Close Up Presented by Great American Country
The inside track is what CMA Celebrity Close Up is all about with a lively question and answer format hosted by media personality Lorianne Crook. And she treated the audience of more than 2,500 to a bit of insider information with guests Trace Adkins, Terri Clark, Charley Pride, Neal McCoy, Montgomery Gentry, and Josh Turner during two sessions on Thursday.

Great American Country (GAC) was the presenting sponsor of the celebrity gab sessions, which were taped for two television specials by the same name on the Country-themed cable network. "CMA Celebrity Close Up" will premiere on Wednesday, July 18 (9:00 PM/ET); and the second special premieres on Monday, July 30 (8:00 PM/ET). Schedule subject to change.

CMA Music Festival After HoursT
A record 19 Downtown Nashville clubs participated in CMA Music Festival After HoursT offering drink discounts and special events for festival goers and Nashvillians.

Setting the tone for each night's revelers was "The Official CMA After Hours Kick-Off Concerts" following the Nightly Concerts at LP Field in the Hard Rock Cafe parking lot. The free concerts Thursday through Saturday featured Emerson Drive, Lantana, and The PovertyNeck Hillbillies.

Another new feature of After Hours in 2007 was the Hard Rock Cafe Writers Night, Thursday through Saturday, featuring some of Nashville's most successful tunesmiths in the round - trading stories and playing the songs that made several artists household names.
 
ABC Daytime
Real life drama is a staple of both Country Music lyrics and daytime television series, and the artists and actors met at the crossroads during 2007 CMA Music Festival when the ABC daytime stars of "All My Children," "One Life to Live," and "General Hospital" made their first appearance during the Festival.

Daytime actors that attended CMA Music Festival included Colin Egglesfield (Joshua Madden) and Justin Bruening (Jamie Martin) from "All My Children"; Kathy Brier ("Marcie McBain"), John-Paul Lavoisier ("Rex Balsom"), and Kassie DePaiva (Blair Cramer) from "One Life To Live"; and Rebecca Herbst ("Elizabeth Spencer") and Greg Vaughan ("Lucky Spencer") from "General Hospital."

The actors made several appearances in the Fan Fair Exhibit Hall and introduced concerts, but the highlight for fans had to be "Fun in the Sun," Saturday at the Wildhorse Saloon, with interviews, performances, dance lessons, and many more activities for more than 1,200 faithful fans.

ABC Block Party
 The ABC Block Party hosted by Matt Gallant on Saturday included "Ugly Betty" look-alikes, "Dancing with the Stars" champion Cheryl Burke, and ABC trivia games testing participants knowledge of "Brothers and Sisters" and "Grey's Anatomy." Jason Michael Carroll also performed for the packed crowd.

Media Coverage
Nearly 700 journalists were credentialed for 2007 CMA Music Festival representing more than 200 domestic and international media outlets. Among the domestic outlets at CMA Music Festival were "48 Hours," ABC.com, ABC Radio Networks, Associated Press, Blender, CMT, CNBC, Country Weekly, "Fox & Friends," GAC, Getty Images, "Good Morning America," People, Premiere Radio Networks, Reuters, The Sportsman Channel, The Tennessean, TV Guide, and USA Today. International media from 11 countries were credentialed as well, including Australia, Brazil, Canada, France, Germany, Ireland, Luxembourg, the Netherlands, Sweden, Switzerland, and the United Kingdom. Among the 59 international outlets represented were Bayern 3 (Germany), BBC Radio Lancashire (UK), Country Music Channel (Australia), CMT Canada, Disney Tribune (France), Moray Firth Radio (Scotland), Personalities Magazine (Ireland), RTL (France), Stadtspiegel (Germany), The Music Network (Australia), Voice of Country Radio (UK), and more.

Sponsorship
Sponsorship is a key element to the marketing, fan experience and financial support of the Festival. More than 55 partners gave out more than 300,000 product samples. Greased Lightning Cleaning Products passed out more than 33,000 samples of their product and ran out Sunday afternoon. In addition to food samples and coupons, Crisco and The J.M. Smucker Company distributed more than 140,000 premium items.

"In our second year as a sponsor, the CMA music Festival has once again helped us to connect with our customers, to find who they are and who we can better fit into their lives," said Jennifer Villani, Account Supervisor, DDB Worldwide, the agency for On the Run® at Exxon.

Villani said they gave away more than 18,000 pieces of merchandise in the Chevy Sports Zone including branded stress balls, tote bags, coupons for free Bengal Traders pastries, 2,000 soccer balls including the ones used in Steve Azar's Sports Challenge, and samples of freshly brewed Bengal Traders coffee (even with temperatures in the mid-90s, they gave away almost 2,000 coffee samples). "I can safely say we have some converts," Villani said.

The CMA Music Festival Fun Team treated fans to a wide array of premiums and samples including Cutter® Wipes, Yankee Candle TCAR JAR® air fresheners, Crest Toothpaste, CMA Awards T-shirts, Mary Kay lip gloss samples, and iTunes® digital sampler cards.

2008 CMA Music Festival Tickets
2008 CMA Music Festival will take place Thursday through Sunday, June 5-8, in Downtown Nashville and tickets are available now. Tickets for 2008 CMA Music Festival were available to Music Festival attendees during the event and available nationally, today. The Gold Circle section is already sold out and tickets are selling at a rapid pace - up 25 percent over 2006 and 76 percent over 2005. Fans are encouraged to order early for best available seating.

To order, call 1-800-CMA-FEST (262-3378); visit www.CMAfest.com to download an order form to fax or mail; visit www.ticketmaster.com to buy online or charge-by-phone at (615) 255-9600. Prices do not include applicable handling fees. Ticket prices are subject to change without notice. All sales are final and non-refundable.

Four-day ticket package categories correspond to a different level of seating at LP Field. Children 3 years and younger are admitted FREE.

2008 CMA MUSIC FESTIVAL FOUR-DAY TICKET PACKAGE PRICES
LEVEL                     ADULT         12 & YOUNGER
Gold Circle (Floor)  SOLD OUT    N/A
Floor Level             $165            $116
Lower Level           $145            $102
Club Level              $135            $95
Upper Level (GA)    $110            $78

ABC Television Special - Monday, July 23
As previously announced, the Festival was filmed for a two-hour television special "CMA Music Festival: Country's Night to Rock" scheduled to air on the ABC Television Network Monday, July 23 (9:00-11:00 PM/ET). Robert Deaton is the Executive Producer. Gary Halvorson is the Director. The special was shot in high definition and will be broadcast in 720 Progressive (720P), ABC's selected HDTV format, with 5.1 channel surround sound.

This is the third year the special will air on ABC. The primetime special debuted on the CBS Television Network in 2004.
 
Both the concerts and the interaction between the artists and fans will be captured in the special with heart-pounding performances interspersed with heart-warming encounters between the artists and their avid admirers. Taped exclusively for the special, cameras followed the stories of several Festival attendees, who had their dreams come true when they were granted a once-in-a-lifetime meeting and personal encounter with their favorite Country stars.

On the Web
CMAfest.com the official Web site of 2007 CMA Music Festival, had 387,473 visitors from January 1- June 11, an increase of 23 percent from the same time period in 2006.

Fans online coordinated a party at Buckwild Saloon on Saturday through the CMA Music Festival MySpace page, where a maximum capacity crowd of filled the club. CMA surprised the fans with an autograph session by Emerson Drive and an acoustic performance by Lady Antebellum - all of which was filmed for an upcoming CMA Webisode.

For up-to-the-minute information about tickets, travel information, schedules, artists appearing at 2008 CMA Music Festival and more, visit www.CMAfest.com and sign up for Exclusive, a periodic e-newsletter with exciting artist features and Country Music news.

CMA Music Festival is organized and produced by the Country Music Association. CMA Board member Tony Conway is the Executive Producer of CMA Music Festival. Premiere Radio Networks is the official radio broadcaster. Chevy: The Official Ride of Country Music. Borders® Books & Music: The Official Music & Book retailer of CMA Music Festival.  Additional promotional partners include American Airlines, BMI, Carl Black Chevrolet, CiCi's Pizza®, CMT®, Coca-Cola®, Country Weekly, Crisco®, Cutter®, Dr Pepper®, GAC Great American Country, Gallo Family Vineyards, Gibson Guitar®, Greased Lightning Cleaning Products®, Hard Rock Cafe Nashville, Mary Kay®, Music Festivals®, New Holland Agriculture Equipment S.p.A., On the Run® at Exxon, Prilosec OTC®, Purity® Dairies, Radisson Hotel Nashville Airport, The Sportsman Channel®, Super 8®, Wrangler®, and Yamaha Motor Corp., USA. EMT services are provided by Vanderbilt Sports Medicine and Vanderbilt Life Flight. Fan Fair® is a registered trademark of CMA.      

Smucker's®, JIF®, Crisco®, Hungry Jack®, Martha White®, Uncrustables® and White Lily® are registered trademarks of The J.M. Smucker Company. 

   

 

 

 

 

 
The 2007 CMA Music Festival set a new aggregate attendance record with 191,154 fans attending the four-day event in Downtown Nashville during June 7-10. Pictured is Trace Adkins performing on Thursday, June 7, during the Nightly Concerts at LP Field.
Photo: Jim Hagans / CMA

 

Reba McEntire and Kelly Clarkson perform at the Nightly Concert at LP Field on Thursday, June 7 in Downtown Nashville during the 2007 CMA Music Festival.
Photo: Jim Hagans / CMA

 

Montgomery Gentry performs with surprise guest Ted Nugent at the Nightly Concert at LP Field on Friday, June 8 in Downtown Nashville during the 2007 CMA Music Festival.
Photo: John Russell / CMA

 

Rascal Flatts performs at the Nightly Concert at LP Field on Saturday, June 9 in Downtown Nashville during the 2007 CMA Music Festival.
Photo: John Russell / CMA

 

 

 

Rodney Atkins Goes Deep
By Bob Doerschuk

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

There's a message buried within the lyrics on Rodney Atkins' If You're Going Through Hell album.

Actually, there are two. The more obvious one is suggested by the visual references that bring its stories to life. Thompson's Barn, Martin's Creek, that old gray fence: All of these places in his songs are real. There's a deeper meaning, though, which reveals a lot more than this artist's home ground: Atkins simply will not record, or even sing, a song that doesn't tell some truth about his life.

"That's all I can sing about," he affirmed, speaking shortly after completing a promotional video for Target near his home. "Greg Hill, from my management company [Red Light Management], has this picture of me from a photo shoot, wearing the clothes I wear every day - the ball cap, the T-shirt. And whenever we listen for new songs, he says to me, 'Okay, this guy in the picture - would he sing this song? Will folks feel comfortable with him doing it?' That's how I choose what I sing; it comes from how I live."

This was true when Atkins, an East Tennessee native, released his Curb Records debut, Honesty, back in 2003. Someone who followed the rules of radio-friendliness might not have picked the title cut for a single. Atkins himself was dubious. Luckily, for 13 years now, he has worked closely with producer/songwriter/musician Ted Hewitt, who knew that keeping it real counted more than keeping it commercial. And so, sensing that title song "Honesty" would connect, he challenged his friend to give it another shot.

"It was a four-minute ballad and another song was already slated as the first single," Hewitt recalled. "But I believed that Rodney would come around. He's a strong person. He can be set in his ways. But I respect that. And we respect each other to the point that if one of us is passionate about a song the other isn't sure about, we try to find what it is that he feels."

"The guy that drives a truck views things differently from the guy who puts on a suit every day and runs a company," Atkins said. "So when I heard 'Honesty' I thought, 'Well, that's kind of . nice. It's so nice that it's gooey.' But Ted made me understand that it's about what people face every day. And I still get e-mails from folks in major corporations as well as truck drivers about how this song affects them."

"Honesty" made it into the Top 5, but the title cut from If You're Going Through Hell and the second single, "Watching You," both climbed to the top of the charts while the album went Gold within the first four months of its July 2006 release date. And it's no coincidence that both songs reveal even more of who Atkins is.

"It's funny," said Dave Berg, who co-wrote three of the tracks on this album. "Sometimes when we're writing, Rodney will play me a song that he's heard, something that blows him away, but he'll say that he's not interested in recording it because it's not really him. So when we started writing 'In the Middle,' I could see how it does reflect where he's at in his life right now. He is that everyday, blue-collar guy, living the songs he sings."

"I want to let people know through my music about my life, the decisions I make and the things I hold dear, like family and growing up in the South," Atkins explained. "People talk about getting around the kitchen table to eat supper. We don't do that: We eat on the front porch, which looks out onto the old tar-and-chip road that leads to our house. That's where the good road ends - the blacktop - and the gate used to be, when they had cattle on our property. We can see that road from the porch, and then across from that is another field and then the woods. At night you can look up and see all the stars."

The people with whom he shares this Eden are as important as the land itself. "When the alternator goes down, you call your neighbor," he said. "You ask if they can come over and help you work on this, and they do it. Or if they see you doing fencing, they'll pull their truck over and help you out. To me, that's the American way of life. When I listen to Alan Jackson, that's how he feels to me - like my neighbor. I want my songs to hone in on that too."

The songs on If You're Going Through Hell are snapshots taken from this world, especially the ones with his name among the writer credits: "About the South," a litany of lifestyle icons ("We believe the Book of John and we drive John Deere."); "Wasted Whiskey," an old-school jukebox lament that doesn't forget to recommend having a designated driver; and "In the Middle," which is actually about as close as a song can get to taking a picture of one man's life and homestead - it's so close to the bone that Atkins jokingly described it to co-writer Berg as "directions to our house."

"When I signed my record deal and went through the different producer situations while making my first album, I kind of forgot what brought me here and the kinds of songs that changed my life," Atkins said. "After I finished that album and went on the road, it came back to me: 'Oh, yeah, I'm singing to people, not to a bunch of record executives. This is what I love.' The music business is in Nashville, but out here it's just music."

All of that is true, but it's true as well that success will change even some of those things that a Country Music star-on-the-rise holds dear. With his schedule growing more demanding while he gears up to go on tour in April with Martina McBride and Little Big Town and 90-minute drives into Nashville for meetings or flights out of town, Atkins and his wife Tammy Jo are thinking about the unthinkable: leaving their home up on the ridge and moving closer to the city.

"Yeah, we're talking about that," he admitted. "But we're not talking about moving into town. Wherever we wind up, I've got to have some land around me, somewhere to ride four-wheelers and get out into the woods, because we're still the same folks we always were. I'm that guy who doesn't put the toilet paper on right or leaves something spilled on the counter or makes too much noise in the morning when he goes out fishing. Luckily, Tammy Jo loves me for who I am - not who I was or who I'm going to be, but in that moment, right then. So no matter where we go from here, these are the best years of my life."

On the Web: www.rodneyatkins.com

Rodney Atkins will perform at CMA Music Festival in Downtown Nashville on Sunday, June 10 at the Nightly Concert at LP Field. Four-day CMA Music Festival tickets and single night tickets to the individual Nightly Concerts at LP Field are still available to purchase at (615) 255-9600; 1-800-CMA-FEST (262-3378); CMAfest.com; Ticketmaster.com or Ticketmaster outlets.
 

   

Images for above article.

 

 
   
Rodney Atkins; Curb Records; Photographer: Eric Welch
 
Rodney Atkins; Curb Records; Photographer: Erick Anderson
 
   

NEW ARTIST SPOTLIGHT: Lantana
By Kristen Scherer

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

Is Country Music ready for another prodigiously talented trio of females emanating from the Lone Star state? With their debut album, Ubridled, the three veteran musicians who comprise Lantana answer with a Texas-sized "yes." Texans Karol Ann DeLong and Biz Haddock, and Alberta, Canada-native Dalene Richelle came together in a creative and supportive club scene in Dallas and the musical magic and personal chemistry were evident immediately.

"We were three strangers who are now three friends," said group founder Haddock. "We've become kindred spirits; we laugh, we cry; we pull each other along."

Produced by Bill Green and released in September 2006 on BGM Records, Lantana's 13-song debut covers a lot of ground, reflecting the trio's wide-ranging influences that include everything from gospel and R&B to Don Henley and Dolly Parton. Right out of the box, Lantana's debut single, "Country as a City Girl Can Be" (written by Billy O'Rourke and Mitch Stephen), hit the Top10 on the Best in Texas chart and stayed there for 12 weeks. The trio contributed one of their own songwriting collaborations to the album, the fiddle-driven "The Juice Ain't Worth the Squeeze," and showcased its softer side with the release of their sophomore single, the heartfelt ballad, "Let Somebody Love You."

Lantana played some springtime dates in France and Switzerland, the perfect warm up for appearance this week at CMA Music Festival in Nashville.

IN THEIR OWN WORDS:
WHICH SONG WOULD YOU SECRETLY LIKE TO COVER?

DeLong: "'At This Moment' by Billy Vera & The Beaters."
Hadock: "'Don't Mess Around with Jim' by Jim Croce."
Richele: "'Sweet Child of Mine' by Guns and Roses."

WHAT BOOK IS ON YOUR NIGHTSTAND?
DeLong: "The Alchemist: A Fable About Following Your Dream
by Paulo Coelho."
Hadock: "Phillip Yancy's What's So Amazing About Grace."
Richele: "Living Buddha Living Christ by Thich Nhat HanH."

WHAT SONG DO YOU WISH YOU HAD WRITTEN?
DeLong: "'I Will Always Love You.'"
Hadock: "Sarah McLachlan's 'I Will Remember You.'"
Richele: "'I Hope You Dance.'"

On the Web: www.lantanamusic.com

Lantana will perform on Friday, June 8 at the "CMA Music Festival Kick-Off Concert" in the Hard Rock Cafe parking lot. The event is FREE and open to the public. Lantana is also participating in the "Third Annual CMA Music Festival Kick-Off Parade," a FREE event on Wednesday, June 6 beginning at 2:30 PM. Spectators are sure to enjoy artists, celebrities and athletes in a parade of Chevy vehicles, two local high school drum corps, a New Holland tractor and the Chevy Fun Team handing out freebies. 

Immediately following the Downtown procession, the party will kick into high gear at the FREE "Second Annual CMA Music Festival Block Party," from 3:30 to 8 PM on the Chevy Music Tour Stage at the Nashville Arena Plaza (The Sommet Center) on Broadway and Fifth Avenue South. Artists scheduled to perform include Cowboy Troy, Jason Michael Carroll, Joanna Cotten, Elizabeth Cook, Darryl Worley, Jennifer Hanson, and Mark Chesnutt.
 

   

 

 
     
Lantana; BGM Records; Photographer: Melissa Webb
 

 

 

CMA Launches New Podcast Series on CMAfest.com

Monthly Podcasts Chronicle "Life on the Road" for Up-and-Coming and Established Country Music Artists

-- In time for CMA Music Festival -- the ultimate Country Music Road Trip -- CMA is launching a new series of podcasts that explore life on the road for up-and-coming and established Country Music artists called "CMA Road Stories" at CMAfest.com.

"If we have discovered one thing after presenting CMA Music Festival for 36 years it is that our fans really enjoy a behind-the-footlights glimpse at the lives and careers of our artists," said CMA Chief Operating Officer Tammy Genovese. "This series will offer them an opportunity to get to know these artists and their music in a new and exciting way."

The "CMA Road Stories" podcasts launch today. The initial series will feature interviews with new and established Country Music artists about life on the road. The monthly podcasts are set in a casual environment -- often on the artist's tour bus or at CMA offices on Music Row in Nashville.

The first podcast features Show Dog Nashville recording group Carter's Chord. The group is made up of three singing/songwriting sisters (Becky, Emily and Joanna Robertson), who are the daughters of Barny and Carter Robertson, who toured and recorded with Waylon Jennings as members of his legendary band, The Waylors. Carter's Chord will be performing at 2007 CMA Music Festival on the Greased Lightning(R) Daytime Stages at Riverfront Park on Sunday, June 10.

Future podcasts will feature Country artists Eric Church, Chris Young, Ray Scott and more.

Starting today you can subscribe to the podcast via CMAfest.com and iTunes Store (http://www.itunes.com/). For fans who don't have iTunes or want a direct download, an mp3 is also available on CMAfest.com.

For up-to-the-minute information about tickets, travel information, schedules, artist appearances and more, visit http://www.cmafest.com/ and sign up for e-news.

CMA Music Festival is organized and produced by the Country Music Association. CMA Board member Tony Conway is the Executive Producer of CMA Music Festival. Premiere Radio Networks is the official radio broadcaster. Chevy: The Official Ride of Country Music. Borders(R) Books & Music: The Official Music & Book retailer of CMA Music Festival. Additional promotional partners include American Airlines, BMI, Carl Black Chevrolet, CiCi's Pizza(R), CMT(R), Coca-Cola(R), Country Weekly, Crisco(R), Cutter(R), Dr Pepper(R), GAC Great American Country, Gallo Family Vineyards, Gibson Guitar(R), Greased Lightning Cleaning Products(R), Hard Rock Cafe Nashville, Music Festivals(R), New Holland Agriculture Equipment S.p.A., On the Run(R) at Exxon, Prilosec OTC(R), Purity(R) Dairies, Radisson Hotel Nashville Airport, The Sportsman Channel(R), Super 8(R), Wrangler(R), and Yamaha Motor Corp., USA. EMT services are provided by Vanderbilt Sports Medicine and Vanderbilt Life Flight. Fan Fair(R) is a registered trademark of CMA.

Smucker's(R), JIF(R), Crisco(R), Hungry Jack(R), Martha White(R), Uncrustables(R) and White Lily(R) are registered trademarks of The J.M. Smucker Company.

Source: Country Music Association

Web site: http://cmafest.com/
http://www.itunes.com/

 

 

 

 

CMA Closeup News Service
Issue Date: 5/29/2007  
bulletLittle Big Town: Music, Momentum and Mellencamp
bulletNEW ARTIST SPOTLIGHT: Bucky Covington
Little Big Town: Music, Momentum and Mellencamp
By Phyllis Stark

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

For Little Big Town, the creative process never stops, not even in the bathroom.

Take group member Karen Fairchild, who recently came up with a verse and chorus of a new song while showering at a hotel. Worried about losing the idea, she hollered for her husband and band mate, Jimi Westbrook, to bring her something to record on. He soon produced a cell phone set to "video" mode and - given her wet and naked state - laughingly advised her to turn it toward the wall.

"So I recorded in the shower," Fairchild recounted. "You can hear water dripping and the whole verse and chorus, and all you can see is tile."

That's typical of this hard charging band's "always on" work ethic. In 2006, they did about 220 tour dates, sandwiching key media opportunities including "CMT Crossroads" and "The Tonight Show with Jay Leno" in between. They also found time to land two CMA Awards nominations, two GRAMMY nominations and celebrate RIAA Gold certification of their Equity Music Group album, The Road to Here. The album has since gone Platinum.

In other 2006 milestones, The Road to Here topped Billboard's all-genre year-end list of top independent albums, and the band was named Billboard's independent artist of the year. Their first hit single, "Boondocks," sold more than 100,000 in digital downloads, scoring the band a Gold digital certification from the RIAA.

In the midst of all that, they found time to sing backing vocals on eight tracks from John Mellencamp's recently-released Freedom's Road album, including the single "Our Country," which was featured in a national ad campaign for Chevrolet. Little Big Town toured with Mellencamp as the opening act for his spring 2006 tour.

Westbrook was shocked when he got a call from Mellencamp asking the band to record with him because even though Little Big Town had performed "Pink Houses" with him every night on stage, Mellencamp had never really spoken to them. "I didn't even know if he knew my name," Westbrook said.

Over the course of recording with him, however, the band members say they became friends and developed a new level of respect for the mercurial Mellencamp. "He's a real man of action," Fairchild said. "He has some strong opinions and strong political views. Not that we share all of them, but you have to admire him because he's an activist. He's not just some guy who spews off at the mouth and then doesn't go do something about it. He really gets out there and tries to make a difference."

In June, Little Big Town returns for a second consecutive year to perform, at CMA Music Festival. Also this year, Little Big Town hit the road with an artist sure to remember their names - Martina McBride - for three months beginning in mid-April. And, they're trying to slow down their schedule enough to finish recording their third album, due from Equity Music Group in the fall.

Repeating the successful formula used on The Road to Here, they'll once again co-produce the new album with their songwriting collaborator, Wayne Kirkpatrick, in his Nashville-area studio.

"It's too good a place of safety and creativity to not do it again," Fairchild said of Kirkpatrick's studio.

Added band member Phillip Sweet, "I'm looking forward to going to work in that environment with that same group [of musicians] because there's a well full of creativity there."

In that environment, said Westbrook, "It's easier to open yourself up and expose your guts."

While the recording and writing process will be the same, the band's attitude and confidence level is completely different this time around. Before recording The Road to Here, Little Big Town had been dropped by Sony Music Nashville after the one album they had recorded for that label became both a commercial and critical disappointment.

Thus, when they went into the studio with Kirkpatrick they were a bit beaten down and their confidence was shaky. As the process of recording that album wore on, however, that confidence rose as their sound and direction became defined.

"We were so second guessing our every move for a little while," said Fairchild of that time. "Toward the back half of the record where we got more confident, but the front half we kept going 'Gosh, is this right? Are we on the right path?' Now, we really know and, of course, now we've had some affirmation that we were on the right path."

Sweet said their success over the past year has provided, "a clarity of direction about who we are. It's helped us define our 'thing' a little bit more."

The band's roadwork has also boosted its collective confidence. "Night after night it just solidifies, this is us. This is our voice,'" Westbrook said.

Band member Kimberly Roads anticipates some happier tunes this time around. "When we wrote [songs for] The Road to Here, we were all at very low points in our lives," she said. "Now we're not, so it'll be interesting to see what comes out."

Westbrook also thinks the album can't help but have an upbeat feel overall. "It's a positive time in all of our lives and that's going to come through."

In the midst of a crazy year, members of Little Big Town found time to wed, including Fairchild and Westbrook, who surprised fans with their news after having kept their romance secret.

Another surprise wedding took place in late November when Roads married longtime friend Stephen Schlapman on a private island in the Caribbean. Schlapman had already quit his job to come out on the road with the band and handle merchandise sales. It was announced in late February that the couple is expecting their first child later this year.

The last single member of the band, Sweet, married Rebecca Arthur in late March.

Despite being able to travel with spouses, working the road as hard as Little Big Town does isn't always pleasant, as the band learned last summer when it played a string of county fairs in rainy, muddy conditions.

"Everywhere we went it was a mud pit," Fairchild recalled. "The conditions would be horrible and we felt so sorry for the fans. They would be drenched and muddy. Then we would get out there and we would have a ball and they would have a ball. The two hours on the stage is completely cool," she said. "It's managing the other 22 that can be a challenge."

Still, the band enjoys life on the road. "It's like going to camp with your friends," Sweet said. "You get on the big bus and you all pile up together. The living conditions are a little tight, but you do it because you love it."

"Everybody has hard jobs," Roads added. "When you look at ours, it ain't hard."

After years of struggling, the band has trouble pulling back on its tour dates, even to write and record a new album.

"If we were to really slow down a whole lot we'd be nervous," Westbrook said. "It's still hard to say 'no' when the offers come in."

"For eight years we sang for free and we really didn't know you could make money singing," Fairchild explained. "It wasn't three years ago when we were begging someone to book us."

"We wanted this really bad," Roads said. "We worked for many, many years and when the momentum began, we were afraid to say 'no' to anything because we wanted it so bad for so long."

"When children come, we may pare it back a little bit," Fairchild said of their tour schedule. Until then, it's full steam ahead.

A popular misconception outside the music industry is that as soon as an act lands a record deal and puts out a successful album, they are instantly wealthy. That is, of course, far from reality, especially when any profits must be split among four band members.

Little Big Town has seen little financial reward thus far, although that situation continues to improve. Fairchild, who has a degree in early childhood education, remembers hoping just a few years ago to one day make a school teacher's salary. Roads reports that three years ago, the band's income was below the poverty level.

"We could have applied for food stamps," Fairchild quipped. "Maybe we should get some government cheese for the bus," Sweet added. And while things have certainly improved, Fairchild said, "Last year's income tax returns were laughable. But you do what you've got to do. I'd much rather make music and be poor and happy."

Now that the band is hot, they've recently gotten offers from other labels trying to poach them. Some offers are from the same label executives who passed on the band when they were shopping for a new label deal after leaving Sony. But all four band members emphatically say they have no desire to move on.

"The great thing about where we are with Equity is we make every decision," Fairchild said. "We sit as a team and hear input from the knowledge that's in the room, but then ultimately [label President] Mike [Kraski] will look at us and go 'What's the single going to be?'"

"We're not going to go anywhere else and get that," Westbrook said. Meanwhile, as the band celebrates Platinum sales for The Road to Here, they're getting help from an unlikely place. Fairchild's parents regularly visit retail stores and check the CD stock. If they can't find their daughter's album, they'll go into what Fairchild calls "covert operations" mode, asking to speak to the store's music buyer, then reporting their findings to the label's sales team.

With supporters like that, double Platinum sales can't be far away.

On the Web: www.littlebigtown.com

Little Big Town will perform at CMA Music Festival in Downtown Nashville on Friday, June 8 at the Nightly Concert at LP Field. Four-day CMA Music Festival tickets and single night tickets to the individual Nightly Concerts at LP Field are still available to purchase at (615) 255-9600; 1-800-CMA-FEST (262-3378); CMAfest.com; Ticketmaster.com or Ticketmaster outlets.

Little Big Town and other artists will Ride for a Cure in a motorcycle ride on Wednesday, June 6, benefiting the T.J. Martell Foundation. Event kicks off with brunch and meet and greet at Harley-Davidson of Cool Springs, commencing at Hall of Fame park for a barbeque hosted by Applebee's. Tickets at (615) 256-2002. 

Spectators are sure to enjoy the Chevy vehicles featured in the "Third Annual CMA Music Festival Kick-Off Parade," a FREE event also on Wednesday, June 6 beginning at 2:30 PM on Broadway. Additional parade elements include artists, celebrities and athletes, two local high school drum corps, a New Holland tractor and the Chevy Fun Team handing out freebies. Immediately following the Downtown procession, the party will kick into high gear at the FREE "Second Annual CMA Music Festival Block Party," from 3:30 to 8 PM on the Chevy Music Tour Stage at the Nashville Arena Plaza on Broadway and Fifth Avenue South. Artists scheduled to perform include Jason Michael Carroll, Elizabeth Cook, Jennifer Hanson, Tanya Tucker, Darryl Worley and more.

   

Images for above article.

 

 
   
Little Big Town; Equity Music Group; Photographer: Kristin Barlowe
Photo: Kristin Barlowe

 

Little Big Town; Equity Music Group; Photographer: Kristin Barlowe
Photo: Kristin Barlowe

 

   

NEW ARTIST SPOTLIGHT: Bucky Covington
By Kristen Scherer

 

© 2007 CMA Close Up News Service / Country Music Association, Inc.

With Bucky Covington's arrival in Nashville, sightings of "American Idol" veterans along Music Row have become almost routine.

Thankfully, Covington's Country credentials are as real as they come and his singing is anything but routine. Growing up with his identical twin brother Rocky in Laurinburg, N.C., Covington was still a kid when he started listening to and imitating Tim McGraw, George Strait and Travis Tritt on the family's karaoke machine.

At 19, he heard guitarist Jeff Healey's "Angel Eyes," and his fate was sealed.

"The minute I heard it, I pictured myself on the stage playing guitar and singing," Covington said. "It was the best, warmest feeling I've ever had. So I bought an electric guitar."

Obsessed, it wasn't long before he had mastered the basics and was looking for a band. His first groups were decidedly rock oriented, but over the course of the next few formative years, the singer gravitated more and more to Country, finally hooking up with regional favorites Southern Thunder, where he would learn the ropes on the road and find himself musically.

Covington's first "American Idol" season five audition - a thousand miles away in Memphis, Tenn., - coincided with Hurricane Katrina and was canceled. Following a subsequent audition in nearby Greenville, N.C., he made it to Hollywood and into the finals. Among the many post-competition calls he received was one from fellow contest winner Mark Miller, whose band, Sawyer Brown, launched their hit career after winning the top prize on "Idol" predecessor "Star Search."

Covington and Miller immediately hit it off, and, with Miller and Dale Oliver producing, Covington was soon in the studio recording his self-titled Lyric Street Records debut, released on April 17.

His debut single, "A Different World," was written by Jennifer Hanson, Tony Martin and Mark Nesler.

IN HIS OWN WORDS:
WHO IS YOUR MUSICAL HERO?
"Elvis Presley. His showmanship was second to none and he had such wide appeal because his music crossed into every genre."

WHICH SONG WOULD YOU SECRETLY LIKE TO COVER?
"Elvis' 'Suspicious Minds.' That's the song that got me listening to Elvis."

WHAT BOOK IS ON YOUR NIGHTSTAND?
"The Bible."

On The Web: www.buckycovingtonmusic.com; www.myspace.com/buckycovington

Bucky Covington will perform at CMA Music Festival in Downtown Nashville on Friday, June 8 at the Nightly Concert at LP Field. Four-day CMA Music Festival tickets and single night tickets to the individual Nightly Concerts at LP Field are still available to purchase at (615) 255-9600; 1-800-CMA-FEST (262-3378); CMAfest.com; Ticketmaster.com or Ticketmaster outlets.  Covington will also perform on Thursday, June 7 during the Complete Country Show from 2 to 4 PM at the Greased Lightning® Daytime Stages at Riverfront Park. Single-day tickets for the Greased Lightning® Daytime Stages will be sold the day of each show at the gate for only $14 each. Children 6 and younger are admitted FREE of charge.

"Good Morning America's" Weather Anchor Sam Champion will report live from Nashville, Thursday, June 7, giving viewers a front-row seat for CMA Music Festival. Champion will be joined by Bucky Covington and The Wreckers from the third-floor, rooftop patio at Graham Central Station, which overlooks CMA Music Festival's concert venues Greased Lightning® Daytime Stages at Riverfront Park and LP Field, home of the Nightly Concerts.

   

Images for above article.

 
     
Bucky Covington; Lyric Street Records; Photographer: Kristin Barlowe
Photo: Kristin Barlowe
 

 

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