February 2019 - Nashville Music Line

MLC needs songwriters’ support

Ensures streaming services pay royalties

A reminder to all songwriters and music publishers: please sign the petition supporting the Music Licensing Collective!

The submission, which will be filed by March 21, creates the collective required by the Music Modernization Act (MMA) to license and administer mechanical rights. (The MLC will not replace your existing P.R.O.) The Register of Copyrights will designate the MLC from submitted applications based on an entity proving itself able to achieve the goals of the MLC, as well as meeting all the legal requirements as stipulated in the MMA.

A major benefit: MLC will collect and distribute your mechanical streaming royalties for free.

As mentioned in a previous post here, at least one other organization is bidding for the right to administer these services. However, MLC is the one formed as a collective that includes and is endorsed by Nashville Songwriters Association International (NSAI), Songwriters of North America (SONA) and National Music Publishers Association (NMPA). Additionally, MLC receives the endorsement of your Performing Rights Organizations ASCAP, BMI and SESAC. It is the applicant that is run by songwriters for songwriters.

When the MLC is up and running, there will be no charge for songwriters to participate. The financial benefits for songwriters under the new MMA are considerable, particularly with increase in potential income from streaming and downloads that MLC will administer.

But time is running out and MLC needs your endorsement to show the US Copyright Office that the MLC has your support. Take a moment to add your endorsement now at supportthemlc.com.

MLC ‘great new tool’ for songwriters

Excerpt from ‘About the MLC:’ Streaming companies must license millions of individual songs and no agency exists to do this job. Music publishers may collect mechanical royalties for a songwriter or hire a company to collect them. Many self-published songwriters must pay someone to collect their royalties, do the often-complicated job themselves, or many just don’t bother with collecting them at all.

The Music Licensing Collective, or MLC, will be a great new tool for American songwriters and in January 2021 will begin licensing your mechanical streaming royalties for FREE! It’s free because the streaming companies agreed to pay all the costs as part of the MUSIC MODERNIZATION ACT. All you’ll have to do is join!

Read more information about how the MLC will help songwriters at no charge to you here.

#supportthemlc #musicmodernizationact #songwriters

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

Blake Shelton’s ‘mystery kiss’ photo

Can you I.D. the air personalities from 2003 CRS?

When Blake Shelton likes you, he shows his love with a kiss.

L to R: Unidentified, Blake Shelton, Eddie Haskell, Unidentified. Can you help I.D. these guys? Photo: Preshias Harris

Dierks presents award to Blake. Photo: Catrina Engleby / Nashville Music Guide

During the Warner Music Nashville “Warner Wednesday” luncheon, part of this year’s Country Radio Seminar (CRS), Blake was presented with the CRS Artist Humanitarian Award. He received the award from last year’s recipient, Dierks Bentley.

“I scratched my name off,” said Dierks as he handed over the Award. “It’s all yours.”

Accepting the award, Blake pulled Dierks in close and planted a big kiss on his forehead.

Who ARE those radio guys?

But this wasn’t the first time Blake has surprised someone at CRS with a kiss. Back in 2003, I caught up with Blake at that year’s CRS. It was then held at Nashville’s Renaissance Hotel and the ‘old’ Convention Center. As we talked, three country radio air personalities joined us. The guys all moved in close for the photo, and that’s when Blake planted one on the guy next to him!

So I know that Blake is the kisser. But who is the kissee? Take a look at the photo above. I have lost my notes from that day and I need your help!

I know that the curly-haired gent to Blake’s left is Eddie Haskell, now Senior VP / Programming for iHeartMedia, Ft Collins, CO. Eddie was previously Program Director at KYGO-FM 98.5 Denver, CO.

But who are the other two fellers, both the ‘kissee’ far left, and the fourth man, far right?

C’mon, air personalities and radio biz people; help me out here and I’ll send you a little ‘thank you’ gift and post the correct photo I.D. (and your name) in a post at www.nashvillemusicline.com

Send your I.D. of the guys in the ‘Mystery Kiss’ photo to me here or preshias@nashvillemusicline.com

Here’s another photo from that same day, back at CRS 2003. I hope this jogs your memory.

Unidentified, Blake, Eddie, Unidentified. Photo: Harris

Darius Rucker reunites with Hootie and the Blowfish during surprise CRS appearance

Keith Urban forgets words to new song

CRS featured an unforgettable show at the Ryman Auditorium in Nashville as Darius Rucker reunited with his Hootie and the Blowfish bandmates. Unforgettable? Well… Keith Urban DID forget the words to his new song, which made the show unforgettable for a forgetful reason!

Universal Music Group Nashville (UMG) invited attendees of this year’s Country Radio Seminar (CRS) to a lunchtime showcase at the Ryman Auditorium on February 14. CRS, now in its 50th year, is the world’s largest gathering of radio decision-makers and the recording artists who wish to interact with them.

Little Big Town at UMG at the Ryman. Photo: Harris

Royce Risser, UMG’s Executive Vice President of Promotion emceed the event, getting in a few witty ‘digs’ at radio execs in the audience as he light-heartedly urged them to add these songs to their playlists. In a fast-moving show, each act came on stage to perform one song – generally a cut that would impact Country Radio in the days or weeks ahead. (See below for a full list of performers.)

Keith Urban debuts “We Were”

Keith Urban came out on stage to perform “We Were,” a song so new that he brought out his cell phone so he could sing and play along to it. Technology is subject to Murphy’s Law (If anything can go wrong, it will) and the track stopped playing after just a few bars.

Undeterred, Urban re-started the track and, when it once again failed, he carried on singing to just his acoustic guitar. But a minute or so later he suddenly stopped. “Oh my gosh!” he told the audience. “I’ve forgotten the words to this dang song! Can you believe it!”

A less experienced artist might have suffered a total meltdown, blowing a song in front of hundreds of radio professionals who make the decisions about what gets aired. But being a true professional, he picked up the threads of the song and carried on, much to the delight of his audience. If nothing else, they will all remember Urban’s “We Were” when they get back to their radio stations.

Vince Gill at UMG at the Ryman. Photo: Harris

Later, Vince Gill took the stage and, as he sat on his stool, he jokingly said he had been planning to bring his phone out and play to a track on it. “Keith said that was a really cool idea,” said Gill glancing off to the side of the stage with a smile. Guess no one is going to let Keith forget that. 2019 marks the 30th year that Vince Gill has been with MCA, part of the UMG family of labels. Risser noted that Vince has earned 18 CMA Awards and 20 Grammys, including wins for ten consecutive years.

More highlights of the UMG show

Continue reading “Darius Rucker reunites with Hootie and the Blowfish during surprise CRS appearance”

Cole Swindell, Mitchell Tenpenny celebrate Number One hits

Swindell’s eighth No. 1; Tenpenny’s first No. 1

Cole Swindell recently celebrated his eighth No.1 single as an artist. “Break Up In The End” was written by Chase McGill, Jessie Jo Dillon and Jon Nite, and produced by Michael Carter. The No. 1 party was hosted by ASCAP and BMI at The Topgolf in Nashville.

(L to R): Chase McGill, Jessie Jo Dillon, Cole Swindell, Jon Nite. Photo credit: Steve Lowry

Both McGill and Nite have had successful, award-winning careers as songwriters, but “Break Up In The End” was the first No. 1 for Dillon, who was presented with a Taylor guitar to mark the accomplishment. The presentation was made by BMI’s Leslie Roberts.

This No. 1 was an ‘outside song’

Swindell was commended for going with an ‘outside’ song; that is, a song that he did not write or co-write himself, although he is known as a successful songwriter. Named MusicRow Breakthrough Songwriter of the Year in 2014, he has also received the CMA Triple Play Award for writing three No. 1 hits within a twelve-month period. But in the case of “Break Up In The End,” Swindell and his label chose to release a song that came from outside writers. (As it happens, Swindell has written previously with Jessie Jo Dillon, but did not know she was one of the writers of “Break Up” when he heard the demo.)

During the presentation, Warner Nashville’s John Esposito noted that Swindell is the only artist to have ever topped Country Aircheck’s chart with his first seven singles, prior to this his eighth No. 1. Esposito presented Swindell with an RIAA Gold plaque, adding that the Platinum plaque “is on the way.”

See Cole Swindell’s website here and his Facebook page

Tenpenny’s No. 1 is his debut single

On February 11, it was time for Mitchell Tenpenny to celebrate at a No. 1 party for “Drunk Me.” The song was written by Tenpenny with Jordan Schmidt and Justin Wilson. The party, co-hosted by ASCAP, BMI and SESAC was held at the Tin Roof in Nashville.

“Drunk Me” is Tenpenny’s debut single from his debut album, “Telling All My Secrets,” released in February 2018. Tenpenny was born and raised in Nashville, Tennessee. He graduated from Middle Tennessee State University with a degree in music business. Continue reading “Cole Swindell, Mitchell Tenpenny celebrate Number One hits”

Aldean, Ballerini top MusicRow Awards

CountryBreakout winners hailed for radio spins

The MusicRow CountryBreakout Awards were once again the unofficial kickoff to the Country Radio Seminar (CRS). Air personalities, program directors, radio execs, recording artists and record label folks gathered at the Listening Room in Nashville, Wednesday, February 12 for the 17^th annual MusicRow CountryBreakout Award show.

(L to R): Alex Kobrick MusicRow Chart Director, Kelsea Ballerini, Sherod Robertson, MusicRow Publisher. Photo: Preshias Harris

Each year, MusicRow magazine recognizes the artists and songwriters who have made the greatest impact on the secondary-market radio stations whose airplay reports provide the statistics for MusicRow’s weekly charts.

Attendees were treated to performances from CJ Solar, who opened the proceedings with an energetic and rockin’ full-band set, and Chase McKinney who closed the show with a cool acoustic set. In between, MusicRow owner and publisher Sherod Robertson announced the winners for 2018 and presented the awards.

CJ Solar

CJ Solar was called back to the stage to receive the Independent Artist of the Year Award. CJ’s two singles, “Airplane” and “American Girls,” together totaled 38,689 spins. Both singles entered the MusicRow CountryBreakout Chart, and appear on his five-song EP, Get Away With It (Sea Gayle Records). An accomplished songwriter, CJ scored his first No. 1 as a writer in 2018 with “Up Down,” recorded by Morgan Wallen featuring Florida Georgia Line. Continue reading “Aldean, Ballerini top MusicRow Awards”

Nashville Music Guide Special CRS edition

February ‘Inside Track on Music Row’ ready to read now

Just in time for Country Radio Seminar (CRS) 2019, the February issue of Nashville Music Guide is now available with a special print edition in addition to the online version.

Click here, then click on the picture of the February cover. You can then read the entire magazine on any device. My column, ‘Inside Track on Music Row,’ appears on pages 25 through 35, with plenty of full-color photos.

You can also pick up a print copy at Nashville music venues and at CRS, taking place at the Omni Hotel, Nashville, February 13 through 15.

Meanwhile here are just a few of the items in my February column. Read the full column at NMG!

Randy Houser’s new album ‘Magnolia’ marks new era
Bluebird Café’s 37th year as Nashville icon
Marshall Tucker Band: no sign of slowing down
Marty Brown signs with Plowboy Records
TG Sheppard: “I Wanna Live Like Elvis”

Scroll down to read these brief excerpts, then check out the entire column at Nashville Music Guide.

ALBUM NEWS

Randy Houser’s highly anticipated new album, ‘Magnolia’, is now available to stream in its entirety via NPR Music’s First Listen. Houser performed his favorite song from the album, “No Stone Unturned” on Good Morning America in January, and has been making appearances in Nashville, Los Angeles, New York City, Dallas, Houston, New York City (again) and Baltimore in support of the new album including performances on Sirius XM Play, iHeart Radio Theater and NASH FM.

This album marks a new era for Randy. Feeling impassionate, Houser opted to slow things down and set up camp in his good buddy and co-producer Gattis’ studio in East Nashville to recalibrate and rediscover his passion for creating music. He spent nearly two years fully invested in his songwriting which resulted in ‘Magnolia’ and a new sound that is un-polished yet authentically Houser. Continue reading “Nashville Music Guide Special CRS edition”

Dolly Parton, Jeannie C. Riley, Brenda Lee songs enter Grammy HoF

Among 25 new Hall of Fame inductees

The songs of three of country music’s best-known artists are among the twenty-five works to be inducted into the Grammy Hall of Fame this year.

Dolly Parton‘s “Coat of Many Colors,” Brenda Lee‘s “Rockin’ Around The Christmas Tree,” and Jeannie C. Riley‘s “Harper Valley P.T.A.” are among the 2019 class. Some of the other recordings to be inducted are: “I’m Walking” (Fats Domino), “Full Moon Fever” (Tom Petty), “Walk This Way” (Aerosmith), “Wild Thing” (The Troggs), “Move On Up” (Curtis Mayfield) and “Smoke Gets In Your Eyes” (The Platters).

Dolly Parton

“Coat of Many Colors,” originally released in 1971, has been a fan favorite for decades. The song also inspired the TV movie, “Dolly Parton’s Coat of Many Colors” that aired in December 2015.

Brenda Lee

Brenda Lee’s 1958 holiday song, “Rockin’ Around the Christmas Tree” can be heard on radio and in shopping malls every Christmas. In December 2018, the song racked up more than 32 million on-demand streams.

Jeannie C. Riley

Jeannie C. Riley achieved a ‘first’ with her recording of “Harper Valley P.T.A.” The song made her the first female artist to reach No. 1 on both the country and all-genre pop charts with the same song.

1,088 recordings in Grammy Hall of Fame

The selections in the Class of 2019 include singles and albums that are at least 25 years old, and show “qualitative or historical significance.” A total of 1,088 recordings (including the new inductees) are now part of the Grammy Hall of Fame.

“The GRAMMY Hall Of Fame is proud to be a pillar of musical excellence and diversity year after year, honoring some of the most iconic recordings of all time,” said Neil Portnow, President/CEO of the Recording Academy. “We are proud to acknowledge the ever-changing landscape and evolution of musical expression for which the Academy has become known. We’re honored to add these masterpieces to our growing catalog and are delighted to celebrate the impact they’ve had on our musical, social, and cultural history.”

See a full list of all 1,088 recordings here.

The sixty-first Grammy Awards show airs Friday February 10 on CBS at 8:00 pm ET / 5:00 pm PT.

Music Licensing Collective (MLC) needs songwriters’ support

Songwriters, artists: sign petition to support MLC to collect streaming royalties. Take action now!

Nashville, TN (February 4, 2019) – The Nashville Songwriters Association International (NSAI), the Songwriters of North America (SONA), National Music Publishers’ Association (NMPA), today unveiled broad endorsements for their industry-consensus Music Licensing Collective (MLC) submission to the U.S. Copyright Office (USCO).

The submission, which will be filed by March 21st, creates the collective required by the Music Modernization Act (MMA) to license and administer mechanical rights. Additionally, the groups announced the MLC Board and Committee appointments and launched a website for all of the songwriters and artists who support the MLC to sign an official petition: SupporttheMLC.com and a site for music publishers to add their endorsements: SongConnect.org.

“We’ve worked for decades for the benefits the MLC will bring songwriters/composers, including licensing their digital mechanical royalties at no cost since the streaming music companies have agreed to fund the collective.” – Steve Bogard, President, NSAI

Increased royalty payments from streaming services

Personal note: The Music Licensing Collective (MLC) needs your support to ensure its success on your behalf. It will create and maintain a thorough database of music composition copyrights (and the copyrights’ owners), collect mechanical royalties from digital music streaming services, and transmit those royalties to copyright holders based on the ownership claims set forth in the database.

Streaming services will pay mechanical royalties to the MLC based on the number of streams each song has racked up. This a major benefit for both artist and songwriters. The MLC will also set up a blanket mechanical license for streaming of music compositions, replacing the unwieldy Notice of Intention (NOI) that is currently filed when a streaming service cannot track down a copyright owner. This will result in significantly higher royalty payments for copyright holders in the MLC’s master database.*

All you have to do is join. And its free.

“The U.S. Copyright Office will choose who runs the MLC this Summer. The Nashville Songwriters Association International (NSAI), Songwriters of North America (SONA) and the National Music Publishers Association (NMPA) helped passed the MUSIC MODERNIZATION ACT, working on the legislation for years. We are asking for your support for the MLC being created by us. We KNOW we can do the best job when it comes to licensing your songs and protecting your royalties because we’ve been doing it for decades.” – quote from the MLC website.

The Music Modernization Act (MMA) requires that the MLC is “endorsed by, and enjoys substantial support from, musical work copyright owners that together represent the greatest percentage of the licensor market.” Continue reading “Music Licensing Collective (MLC) needs songwriters’ support”