Tuesday was a celebration of music milestones for Luke Brian and co-writers Sammy Mitchell, Steven Battey and Robert Williford. ‘One Number Away’ was the reason for the celebrations, and for the standing-room-only crowd at the Number One party at the Sutler Basement in Nashville. ‘One Number Away’ is Luke’s third Number One and the third cut from his debut full-length album, ‘This One’s For You.’ The party was hosted jointly by ASCAP, BMI and SESAC.
Pictured (L-R): Sony Music Nashville’s Steve Hodges, Sony Music Nashville’s Shane Allen, MakeWake’s Zebb Luster, Big Machine’s Mike Molinar, River House’s Lynn Oliver-Cline, BMI songwriter Robert Williford, 50 Egg’s Jonathan Singleton, Luke Combs, ASCAP’s Beth Brinker, ASCAP songwriter/producer Steven Battey, SESAC songwriter Sammy Mitchell, SESAC’s ET Brown, Concord Music Publishing’s Brad Kennard, and BMI’s Leslie Roberts. Photo: Peyton Hoge
In a previous interview Luke said, “We aren’t supposed to be here yet.” Hmmmm… let’s check out the stats. In the last 30 days: Recognized the success of Luke’s three number one singles. Debut single ‘Hurricane’ has been certified 3x Platinum while the next follow-up, ‘When It Rains It Pours’ was certified 2x Platinum. Meanwhile, ‘One Number Away’ was certified Platinum and album track ‘Beautiful Crazy’ was certified Gold by the Recording Industry Association of America (RIAA).
Scroll down to read these Music Row One Sheet news items
Nashville Songwriter Awards set for Sept 19
Half of UMG up for sale
Kenny Chesney breaks Nashville attendance record
Dan+Shay toast No. 1 with Tequila Tuesday
R.I.P. Aretha Franklin
Catch these acts on tour
Preshias on Y’all Radio podcasts
Scroll down to read these Music Row One Sheet news items
Nashville Songwriter Awards set for Sept 19
The star-studded line-up continues to grow for the Nashville Songwriters Association International (NSAI) annual Nashville Songwriter Awards presented by City National Bank.
This event is always a ‘must’ on my calendar as we show our appreciation and respect for Nashville’s incredibly talented songwriters. Country megastar and five-time CMA ‘Male Vocalist of the Year’ Blake Shelton, along with eleven-time GRAMMY nominated singer-songwriter Jamey Johnson and ACM, BMI, and CMT Award winning artist Scotty McCreery will participate in the evening dedicated to songwriters. They will join previously confirmed artists Bill Anderson, Chris Janson and LANCO.
Blake Shelton, Jamey Johnson, Scotty McCreery
Awards given will include Song, Songwriter, and Songwriter-Artist of the Year as well as the coveted ‘10 Songs I Wish I’d Written’ awards. As previously announced, country legend Bill Anderson will receive the Kris Kristofferson Lifetime Achievement Award. This year’s Nashville Songwriter Awards will take place on September 19, 2018 at 7:30pm at the historic Ryman Auditorium. More details and tickets available here.
Half of UMG up for sale
If you’ve got some spare cash laying around, here’s an opportunity: Vivendi is looking for investors to buy 50% of Universal Music Group. UMG includes: Capitol Music Group, Republic Records, Island Records, Def Jam, UMG Nashville and more. UMG revenues were up 6.8 percent for the first half of 2018 compared to 2017 (although physical record sales and downloads were down). The 50% share could be worth around ten billion dollars, but would probably not require the new investment partner to come up with anything like that much cash. See a full report at Billboard here.
Artists and bands who value the concept of ‘old school’ recording are finding what they need at a unique studio in Huntsville, Alabama. It’s the new home of both Muscle Shoals Sound Studios (MSSS) and Chess Records, and its owner Noel Webster.
See previous post here for more about the history of MSSS and the unique, historic, recording equipment still in use there today.
Artists who come here to record say they achieve a unique tone; a sound they have not been able to find anywhere else. Noel will tell you that comes from the equipment that he rescued and restored back to its peak performance. Consoles, microphones, amps, speakers and control boards from the Hit Factory, Abbey Road, Capitol Records and Motown.
Noel Webster with Bobby Whitlock’s Hammond organ. Check out the lush woodland through the window! Photo: Preshias Harris
But much of that unique tone must be due to the man at the controls, Noel Webster. A musician himself, he put in twelve years on the road as the ‘sound man’ for acts like the Rolling Stones and Pink Floyd at major venues from arenas to stadiums. He developed the skill of making an act sound great at live gigs. He fleshed out that skill with his next venture when he bought and renovated the iconic Muscle Shoals Sound Studios.
“The music is always going to change, but it all still comes down to the song and the singer. If we can capture them in the most realistic way, the results are astounding.” – Noel Webster
‘It changed their lives’
The refurbished processing effects rack, now up and running in Noel Webster’s Huntsville studio
Thinking back to those days, Noel said, “It started to develop where people would come in and record, but it changed their lives in the way they made records because we didn’t edit everybody in. Such as put a drum and bass down then have everybody build on top of it. We wanted everybody, at the same time, playing together, a core. Then you build on that.”
As we walked through Noel’s studio in Huntsville, his passion for the music and the craft of recording was evident in his voice.
“When we record these [artists], we like to record them ‘live’ on the floor,” he said. “We get as much as we can on those passes. The techniques that we use are based on history. We’ve got our twists and our tools, what we call tradecraft. The little things we like to do.
Microphone, formerly at Abbey Road Studios
“At the end of the day, I’m not out to replicate what was done in the past. I just like to keep it alive. The techniques, the way that people record. The music is always going to change, but it all still comes down to the song and the singer. If we can capture them in the most realistic way, the results are astounding.”
Artists who come to this studio will find a refreshing change from many producers they have previously worked with who might have wanted to retain a financial interest in the recordings.
Noel Webster knows what it takes to upkick a recording from just sounding good to sounding great. He did it for thirteen years as owner and producer of Muscle Shoals Sound Studios. Today, he continues to do that with the reincarnation of another iconic musical brand that today’s artists can be a part of.
Chess Records – along with Motown and Stax – has a special place in the history of popular music. These were studios where dedicated people found a way to bring the sound of R&B to the ears of America and the world. Noel has saved the iconic Chess name from oblivion and is set to create recordings again under the Chess logo.
The original Chess Records logo
Noel found that all the copyrights relating to Chess Records, its name and its logos had been abandoned and allowed to lapse. He formed a corporation under the name Chess Records LLC and copyrighted the name and the original logo.
Noel now provides artists with an all-in-one studio recording experience that combines tracking, mixing and mastering in one place. (More about that later.)
‘Music history’ in every piece
Noel Webster and I have been friends for many years and we got together to catch up and talk about his latest ventures. We met at his studio in Huntsville, Alabama, that is unlike any studio I have ever seen. Set in a craggy hillside and surrounded by trees and vegetation, it is private without being remote. As Noel told me, artists can sit out on the wraparound porch to work out a few licks without worrying about annoying the neighbors. However, some curious deer sometimes stop by to listen as they drink from the water trickling over the rocks out back.
Inside, it has an ultra-modern vibe with an open plan and hardwood floors. But then you see all the gear and realize this is ‘old school.’ As we walked through the studio, it seemed that every piece of equipment had its own story.
The refurbished and fully functioning console from 1960s Capitol Records; mic from Abbey Road studios. Photo: Preshias Harris
“All the music stands and all the speakers in the main room and the control room came from Capitol Records, said Noel. “The console’s parts came from Capitol Records. Capitol had ‘mirrored’ consoles, identical consoles, in both Los Angeles and New York.”
The Capitol console dates from the early 1960s and Noel devoted a lot of time to refurbishing and rewiring it. We also looked at some of the musical instruments in the studio.
Hammond organ signed with a screwdriver
Bobby Whitlock’s autograph on the Hammond organ’s lid. Photo: Preshias Harris
“Bobby Whitlock from Derek and the Dominoes donated his Hammond organ,” said Noel. Whitlock had signed it and dedicated it to Noel, not with a pen but by scratching the scrawl into to the organ’s cover with a screwdriver!
“The drum set came from Mark Herndon [who played with the band Alabama]. I think that was his ’85 tour kit. The Ampeg Fliptop amp over there came from Bob Babbitt of Motown. Different speakers and microphones have a lot of historical significance. The mastering room came from the Hit Factory in New York City. A lot of the processing pieces are from Bill Putnam of Universal Audio. There’s Les Paul’s test equipment. Everything here had done famous things prior to us getting them.”
Back then, the labels gave [artists] the ability to make two, three, four, five albums. They let them develop on their own, to come into themselves, basically, instead of ‘we’re gonna chase what’s on the radio now and try to do the Nashville thing.’ Artists now need the same ability to develop. If we can get them on the right path and get them their sound and get them some cool stuff to make them original audio-wise, that’s what I see. – Noel Webster
But these aren’t simply museum pieces. Noel has no interest in just putting them behind silk ropes for people to look at. Every piece is fully working and is used as part of his recording process. Artists who come to Noel’s studio discover a sound that is impossible to replicate using only modern, all-digital, equipment. Even when played back over digital devices, the difference in audio quality is noticeable.
‘Singles You Up’ goes Platinum; tops 200 million streams
Jordan Davis and his co-writers got together with music industry colleagues and friends to celebrate a Number One. But it was a unique celebration in more ways than one. ‘Singles You Up’ topped Billboard’s Country Airplay charts in April, triggering the Number One party. The bash, co-hosted by ASCAP and SESAC, was held Monday, July 30, at Nashville’s Fat Bottom Brewery.
[L to R]: Steven Dale Jones, Jordan Davis, Justin Ebach. Photo credit: Catrina EngelbyAdditionally, Davis was presented with a plaque marking RIAA’s certification of the song’s Platinum status. During the ceremony, it was also noted that ‘Singles You Up’ has already chalked up more than 200 million streams. Adding a cherry to that sundae, Country Aircheck stated that ‘Singles You Up’ was the ‘most played’ track on country radio for the first half of 2018.
Jordan Davis
Remarkably, this was his first single release, making all the song’s achievements even more unique.
Davis was joined by his co-writers, Justin Ebach and Steven Dale Jones, during a press session prior to the presentation. I asked all three of them if they had left the writers’ room knowing they had a hit with ‘Singles You Up.’ And could they have imagined scoring 200 million streams?
‘You know you’ve got something’
“When I had my first hit, they didn’t have streams,” said Steven. “I remember loving it [‘Singles You Up’]. I remember getting the demo and playing it for my wife, and that’s usually the key. I play her five songs a year and I write a hundred and fifty. So that’s when you know you’ve got something.”
Justin had a similar story. “I think I was telling my wife last week,” he said. “I wrote ‘Sleep Without You’ for Brett Young which was a big hit and, once again, a first single on a new artist. And I literally told her last week – I was playing a [writers’] round – and I was like, ‘Singles You Up’ is bigger than ‘Sleep Without You.’ I mean both are great, I’m grateful for both of them. But this song has just taken on a crazy life. The speed of it and just how much people are holding on to it… So, no, I don’t think I imagined this! [laughs] You asked if it had happened before and I’m like, kinda, but not like this.”
“I was nervous. I was up early. I was trying to come up with something to bring to the room and show that I’m not just in there for him to write me a song.” – Jordan Davis
‘I didn’t want to screw it up’
[L to R]: Steven Dale Jones, Jordan Davis, Justin Ebach. Photo credit: Peyton HogeJordan had vivid memories of the writing session. “That day, that write was, A., getting to see Justin again, because we’ve written before. And B., trying not to have [Steven] notwrite with me again. I didn’t want to screw it up,” he recalled.
“I knew the name Steven Dale jones and I was nervous. I was up early. I was trying to come up with something to bring to the room and show that I’m not just in there for him to write me a song. I’ve never told him this, but that was the goal of that write. And what came out of it was ten times more than me just walking in and being, like, ‘all right dude, show Steven Dale Jones that you can write a song. Please, just do that.’ So definitely, it exceeded my expectations.”
Justin noted that he writes with a lot of artists but it’s great to work with artists who know their phrasing, they know their lyrics they want to say. “Not every artist can do that, and that’s just a testament to him,” said Justin. “As much as ‘Singles You Up’ was a collective and a group thing and may not be totally always the lyric he would say, it’s definitely come out that, looking across the album, his phrasing is in there. His melodies are in there, his lyric is in there. That doesn’t happen for a lot of artists.”
‘Take It From Me’ climbing charts
Home State, Jordan Davis’ debut album
The follow-up single, ‘Take It From Me,’ is already charting. (#38 for the week of August 4, Billboard Country Airplay chart.) Jordan recalled that there was a lot of discussion about which song would be his first single: ‘Singles You Up’ or ‘Take It From Me.’
“I’ve said this from day one, I fought pretty hard for ‘Take It From Me,’” said Jordan. “That’s why we have people that we trust in our corner. I’ve got people that I trust like crazy and they were a hundred percent right. I think ‘Take It From Me’ is a little bit more ‘me’ lyrically, and I think you can see a few more of my influences on some of those lyrics.”
“The artist thing was something that came along, I think, after struggling to get a publishing deal.” – Jordan Davis
Songwriter first, then artist
This may be Jordan’s first Number One, but it is no overnight success. He came to Nashville to be a songwriter and spent several years co-writing and honing his craft. “The artist thing was something that came along, I think, after struggling to get a publishing deal to be honest with you,” he admitted. “I felt that I had a specific way that I wrote songs and a unique way that I delivered them. It just so happens that I found some people that wanted to take a chance on me and make a record.”
Both ‘Singles You Up’ and ‘Take It From Me’ are taken from Jordan Davis’ debut album, ‘Home State (MCA Nashville). The album, produced by Paul DiGiovanni, was released in March 2018. Jordan co-wrote all twelve tracks. Music and more at Jordan’s website. See the official ‘Singles You Up’ video at YouTube here.
Preshias Harris is a music journalist and music career development consultant with the emphasis on new and aspiring artists and songwriters. Her book, ‘The College of Songology 101: The Singer/Songwriter’s Need to Know Reference Handbook’ is available at www.collegeofsongology.com Follow her blog at www.nashvillemusicline.com
Tuesday was a celebration of music milestones for Luke Brian and co-writers Sammy Mitchell, Steven Battey and Robert Williford. ‘One Number Away’ was the reason for the celebrations, and for the standing-room-only crowd at the Number One party at the Sutler Basement in Nashville. ‘One Number Away’ is Luke’s third Number One and the third cut from his debut full-length album, ‘This One’s For You.’ The party was hosted jointly by ASCAP, BMI and SESAC.
If you’ve got some spare cash laying around, here’s an opportunity: Vivendi is looking for investors to buy 50% of Universal Music Group. UMG includes: Capitol Music Group, Republic Records, Island Records, Def Jam, UMG Nashville and more. UMG revenues were up 6.8 percent for the first half of 2018 compared to 2017 (although physical record sales and downloads were down). The 50% share could be worth around ten billion dollars, but would probably not require the new investment partner to come up with anything like that much cash. See a full report at Billboard 
