Showing posts with label cma close up. Show all posts
Showing posts with label cma close up. Show all posts

Tuesday, February 3, 2015

TYLER BARHAM SIGNS WITH CMA AND IS FEATURED IN LATEST EDITION OF "CLOSE UP"

Barham Included Alongside The Band Perry and Joe Nichols 
in Story Focused on Tips from Artists Who are Maintaining Successful Social Media Platforms 

L-R: Carrie Teakautz, CMA Membership and Balloting Asst., Tyler Barham;  
Tiffany Kerns, CMA Community Outreach Mgr.
Photo Credit: Clif Doyal
PRESS RELEASE

NASHVILLE, TN (February 3, 2015) - Rising young Country star, Tyler Barham, recently stopped by the CMA offices in Nashville to sign up for membership and pick up a copy of the latest edition of their Close Up magazine, where he is featured in a three-page spread along with The Band Perry and Joe Nichols. The story, titled "Keep It Real," focuses on social media tips from Barham and the other artists.

Never one to miss an opportunity to connect with his fans, Barham took the opportunity while at the CMA to film a short video about the career milestone - and also sang an acoustic version of his upcoming single, "Just Two Kids," which is slated for release in March. Watch the video here: http://youtu.be/CWjhAdW3brU.

Barham states, "I am excited to announce that I am the newest member of the CMA, and am thrilled to be featured in Close Up! I look forward to a great 2015!"

Barham, 24, a Montana native, currently residing in Nashville, certainly knows how to "keep it real" by staying in daily contact with his huge social media fan base, which includes over 50,000 followers spread across Facebook, Instagram, Twitter and YouTube.

Bob Doerschuck, Editor, CMA Close Up and Tyler Barham.  
Photo credit: Clif Doyal

Barham's YouTube site boasts an astonishing 8.8 million views of his videos, which are a combination of his own original music and covers of his favorite songs by artists including Blake Shelton, Lady Antebellum, and Brett Eldredge, who have all shared Barham's covers with their own followers. Barham met with YouTube staffers on their recent visit to Music City prompting Margaret Hart, of YouTube Artist Relations, to state: "Congrats Tyler on the CMA Close Up! We loved having Tyler come to our recent event in Nashville and look forward to him continuing to connect with his growing fan-base on YouTube."

On the fast track to success, Barham has already racked up amazing stats for a new artist, including Billboard's "10 Country Artists to Watch in 2014" and CMA's "Who New to Watch in 2013." In addition, Barham was a finalist on Great American Country's nationwide talent search, Next GAC Star, and also appeared on the E! television network series, Opening Act.

For more information about Tyler Barham, follow him online:

FaceBook: www.facebook.com/TylerBarham

Twitter: https://twitter.com/TyBlakeBarham

YouTube: www.youtube.com/tyblakebarham

Tuesday, January 20, 2015

NEW ARTIST SPOTLIGHT: MO PITNEY

Photo Credit: Joseph Llanes

By Bob Doerschuk

© 2015 CMA Close Up® News Service / Country Music Association®, Inc.

You might have to go back to Josh Turner to find a singer like Mo Pitney — one whose voice so effortlessly embraces Country tradition and expresses more through understatement than many do through excess.

Born in Cherry Valley, Illinois, Pitney began learning to play his dad’s guitar at age 12. From Johnny Cash, Daryle Singletary, Randy Travis and the other vocalists who inspired him, he learned how to beckon listeners into a song with a smile and an easygoing delivery.

As co-writer on each of the tracks on his upcoming Curb Records album, produced by Tony Brown, Pitney shows a strong lyrical facility too. On “Clean Up on Aisle 5” (Pitney, Wil Nance), he transforms a chance encounter between two supermarket shoppers on into an elegy for a past they’d both left behind. He opens “Come Do a Little Life” (Pitney, Nance and Byron Hill) with the unpromising “hey, girl” callout, but then follows with “you’re my best friend” and eventually elevates the tune to a meltingly romantic paean, assuring the target of his love, “What a beautiful mom you’re going to be.”

In June, Pitney became the first debuting performer in 14 years to earn a standing ovation at the Grand Ole Opry. The last one was Turner. It could be a while before someone shows the merit to repeat that feat.

IN HIS OWN WORDS

MUSICAL HERO

“I fell in love with music when I heard Tony Rice sing and play guitar.”

DREAM DUET PARTNER

“Tammy Wynette.”

PET PEEVE

“I’m trying to eliminate them.”

PHRASE YOU FIND YOURSELF SAYING OVER AND OVER

“Thank you.”

On the Web: www.MoPitney.com

On Twitter: @MoPitney

Tuesday, October 28, 2014

CMA CLOSE UP: NEW SOCIAL STRATEGIES MOBILIZE VIEWERS FOR CMA AWARDS

By Crystal Caviness

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

Sometimes it really is as simple as a hashtag.

Utilizing #CMAawards across multiple social media formats is the target of the Country Music Association’s plan to boost social media traffic significantly for “The 48th Annual CMA Awards,” airing live Nov. 5 on the ABC Television Network.

“Last year, in terms of social media, ‘The 47th Annual CMA Awards’ was the most talked-about broadcast of the week,” said Damon Whiteside, CMA’s Senior VP, Marketing and Strategic Partnerships. “We had 130 million impressions on Twitter. This year, we want to generate even more conversations around the Awards. We are doing more to raise awareness about tuning into the show, and we’ll do that with #CMAawards. We want to get fans to use that hashtag to generate conversations.”


Tim McGraw was among many artists who shared their 2013 CMA Award experiences live via Twitter. - Photo Credit: CMA


Kelly Clarkson was among the artists who posed for and tweeted selfies backstage at the 2013 CMA Awards via a “twitter mirror.” - Photo Credit: CMA


CMA’s digital platforms reach 2.5 million followers on Facebook, Instagram, Twitter, mobile and email.  CMA’s plans involve leveraging that strong artist and fan community by providing content for its members to repost and retweet in the days before as well as during the broadcast.

New to the show this year will be the Backstage Pass via the WatchABC app, a behind-the-scenes, second-screen experience, accessible on tablets, laptops and other mobile devices. CMA had formerly provided multicamera, fan-directed streaming feeds at CMAawards.com. This year, they will also be featured inside the WatchABC app, offering a more integrated experience across multiple devices, including iPad, iPhone, Android devices and smart TV. Cameras on the Red Carpet, in the backstage area, and even focused on the A-list celebrities in the first few rows of the audience, will capture additional footage.


The CMA 360 app offered multiple views of the action during the 2013 CMA Awards.
Photo Credit: CMA

“With more cameras and more interviews and insights from the artists, the Red Carpet and backstage show will let the fans be more involved than ever before,” said Ben Bennett, CMA’s Director of Digital Strategy. “In select markets, fans can even watch the CMA Awards live on the WatchABC smartphone app alongside the backstage show. Being included in the WatchABC app will introduce Country Music to millions of potential new fans. The experience will also be available on the digital home for the show, CMAawards.com.”

Of course, Facebook/Instagram will be part of the experience. In 2013, using instastop photo booths, artists posted Red Carpet photos to the “Extra” Instagram account. They also participated in fan Q&A sessions on their Facebook pages. This year, fans will have even more chances to connect with artists through Facebook.

Colgate, another partner, will provide a site in the hair and makeup area from which artists can tweet. Additional partners JC Penney and Pepsi will offer their own social media elements.

One of the largest social media initiatives will involve Chevrolet, which launched an Instagram promotion during ABC’s broadcast of “CMA Music Festival: Country’s Night to Rock” on Aug. 5. This campaign invites fans to post photos evoking the Country lifestyle and what it means to them to Instagram using #ChevyCMASweeps. The winner receives a trip to Nashville and tickets for the 2014 CMA Awards. All the info about this campaign is available at CMAawards.com/Chevy.

Promo spots airing on ABC in the weeks before the broadcast will incorporate a social media twist, featuring co-hosts Brad Paisley and Carrie Underwood driving fans to social media platforms to vote on playful elements of those promos.

“Our goal is to create a great fan experience so the fans will want to talk about the Awards with their friends online, and as we reach more of their circles of friends, we can potentially reach a bigger tune-in audience,” Bennett concluded. “The fans, promotional partners and artist communities are all vital to our success.”

Tuesday, September 16, 2014

CMA CLOSE UP: DOGS AND COUNTRY STARS ON THE ROAD

Carrie Underwood and Ace.
Photo Credit: Courtesy of Carrie Underwood

By Crystal Caviness

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

After a show in Indianapolis, Carrie Underwood walked off stage and straight to her dressing room, where she had left her beloved rat terrier, Ace. But when she opened the door, Ace wasn’t there … or so she thought.

In the absence of his “mom,” the agile and energetic little dog had jumped onto a folding chair, which of course folded right up, trapping him inside. “He didn’t make a sound, but eventually he was rescued,” Underwood recalled.

So goes life on the road with pets in tow.

Underwood is among a growing number of Country artists who can’t bear to leave their pets behind while traveling to gigs.

“They pretty much go everywhere with me,” said Underwood, referring to Ace and her second dog, a rescued dachshund mix named Penny. “I only leave them home if I’m just going to be gone for a few days. I just want to do what’s best for them. I know traveling is hard on them too. If they can stay at home with their dad (Underwood’s husband and Nashville Predators centerman Mike Fisher) or with a sitter, sometimes that’s the better option.”

Rodi and Chelsea Bain.
Photo Credit: Craig Campbell

Rodi, the 9-pound, long-haired dachshund that belongs to Country up-and-comer Chelsea Bain, knows no other life than by her mom’s side.

“When I first got Rodi, she was 8 weeks old,” Bain recalled. “Two days later, she was on the road. The best thing you can do is get a puppy and throw them into it. This is the life and this is normal. She’s going to know this is what we do. As long as she’s with me, she’s content.”

Bain totes Rodi on planes and the bus as she travels the United States, including shows at many NASCAR events. On planes, Rodi rides in her carrier, which slides beneath the seat. Though she gets nervous at the beginning of the flight, the puppy usually calms down after takeoff. But Bain suspects that anxiety could be sympathy fear.

“I am petrified to fly. When I’m scared, I feel like she’s scared. So I try to comfort her. Rodi is probably an emotional support dog and I don’t even know it,” Bain said, laughing.

Gwen Sebastian and Angel. 
Photo Credit: Michael Gomez

Flying Island Entertainment artist Gwen Sebastian’s dog, Angel, a rescued pit bull mix whose owner calls her “a pretty little mutt,” even has her own bunk on the bus. Unlike Rodi, Angel is usually calm and even works as a navigator of sorts.

“One of my favorite things on the road is when we’re driving on the bus,” Sebastian says. “She rarely hangs out with me. She sits next to the driver in the jump seat, watching out the window.”

All three artists admit that it can be challenging to travel with pets. But they also agree that it’s worth it.

“She just makes it feel like home because she is part of the family,” Sebastian said about Angel. “A dog wagging her tail or licking you is really cool at the end of the day. I guess it’s selfish in some ways, but it makes the end of the day really rewarding and it just feels good!”

Underwood agreed. “Ace and Penny are my little bits of home,” she said. “I love them so much and love having them waiting for me on the bus after every show. I love cuddling with them in whatever random hotel room I’m staying in. They are something that is constant in my life. They don’t care that I’m ‘Carrie Underwood.’ To them, I’m just Mom.”

Tuesday, June 17, 2014

CMA CLOSEUP - NEW ARTIST SPOTLIGHT: LUCY HALE

WWW.LUCYHALE.COM
Photo credit: Sasha Eismann

By Bob Doerschuk

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

Growing up in Memphis, Tennessee, Hale adored Faith Hill and Shania Twain, performed two Martina McBride songs during a talent competition at Loretta Lynn’s Ranch in Hurricane Mills and ultimately left for Los Angeles to seek success as a singer.

But fate had something else in store for her. Hale was just 13 when she won the Fox Network’s “American Juniors” singing competition; her exposure opened the door toward appearances on multiple TV shows and a regular role as Aria on ABC Family’s “Pretty Little Liars.”

Maybe if she’d gone to Nashville instead, she wouldn’t have wound up a TV celebrity first. But as her debut album demonstrates, it was only a matter of time before she found her way back onto the musical track. Released on June 3 by the DMG Nashville/Bigger Picture Group, produced by Mark Bright and Mike Daly, Road Between captures Hale’s ability to coax listeners into the lyric with a buoyant, upbeat delivery.

Just check out her first single, “You Sound Good to Me.” Written by Ashley Gorley, Luke Laird and Hillary Lindsey, set to a sassy groove, the snap of the snare backbeat sweetened by fiddle and slide guitar, it flows easily over just the I and IV chords. But the dimension comes from Hale’s vocals — fluid and a little teasing on the verses, locked tight to the harmony on the irresistible, sing-along choruses. She’s a winner … and, for Country lovers, worth the wait.

For more on Lucy Hale, visit www.CMACloseUp.com.

IN HER OWN WORDS

MUSICAL HERO


“Martina McBride. Her song ‘Broken Wing’ made me want to be in Country Music.”

SONG YOU’D LOVE TO COVER

“I'd love to do a Country version of Emeli Sandé’s song ‘Next To Me.’ Or ‘Jolene’ by Dolly of course.”

BOOK ON YOUR NIGHTSTAND

“The Secret Keeper by Kate Morton.”

WORD YOU FIND YOURSELF SAYING REPEATEDLY

“I literally say the word ‘literally’ all the time.”

LUCKY CHARM

“A diamond ring that was passed on to me from my late grandma.”

SOMETHING WE’D NEVER GUESS ABOUT YOU

“A lot of times people meet me and think that I’m 24 going on 40. I’m actually quite goofy and childlike, though. You just have to get to know me :).”

On the Web: www.LucyHale.com

On Twitter: @LucyHale

Friday, May 16, 2014

CMA CLOSE UP: COUNTRY STARS PAY TRIBUTE TO THEIR MUSIC TEACHERS

By Deborah Evans Price

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

Ask just about anyone in Country Music today and you’ll likely find that music education was a cornerstone in the foundation of their careers.

“People would ask, ‘Why don’t you play basketball? You know you’re tall,’” said Chris Young, with a laugh. “I was like, ‘Well, basketball practice was always at the same time as choir rehearsal.’ Between the two of them, I picked choir and it seems to have worked out.”

Chris Young performs with Nashville School of the Arts students Mignon Grabois and Charley Woods at the 2012 Keep the Music Playing All Stars concert.
Photo Credit: Donn Jones / CMA

“I had a unique opportunity to go to a school for performing arts in Columbus, Ohio, called the Fort Hayes Performing Arts Center,” said Jay DeMarcus of Rascal Flatts. “I had a teacher there named Mary Daniels, who really pushed me to be better than I thought I was. I’d turn in projects and she’d say, ‘It’s good, but you’ve got better inside of you.’ She was actually more a friend to me than just a teacher. She had a way of disarming you to make you feel so comfortable and capable of doing more than you thought you could.”

Jay DeMarcus plays the new grand piano donated to Nashville’s McGavock High School by CMA’s Keep the Music Playing program in 2009.
Photo credit: John Russell / CMA

Like Chris Young, Scotty McCreery learned much from performing with his high school choir. “Our teacher, Meredith Clayton, would take us to New York City, Chicago, Florida and different places for competitions,” he recalled. “She was awesome. She has a big, bubbly personality and a love for music that she passed down to her students. She was all about preparation and putting in the work, and that’s big for Country Music nowadays. If you’re going to be successful, you’ve got to put in the work. Nobody’s going to hand it to you. So I learned a lot of good lessons from her.”

Scotty McCreery performs with students at the 2013 Keep the Music Playing All Stars Concert.
Photo Credit: Donn Jones / CMA

A number of music teachers inspired Sara Evans as she grew up in New Franklin, Missouri. “I was playing clarinet in band,” she said. “I was also in choir. Our two music teachers, Mrs. Burnett and Mrs. Nugent, were both really sweet and fabulous as teachers. Our school was so small that we didn’t even have football, so we would march in the town’s parades. I was always the assistant teacher. Sometimes I would get to direct the band.”

The benefits of music education are a top priority for Evans to pass along to her children, son Avery, 14, and daughter Olivia, 11. She has also lent support to other kids studying music. In 2011, she visited Nashville’s Pearl-Cohn Entertainment Magnet High School as part of CMA’s Keep the Music Playing program to support public school music education.

Sara Evans visits Nashville’s Pearl-Cohn Entertainment High School in 2011on behalf of CMA’s Keep the Music Playing.
Photo Credit: John Russell / CMA

“That was a really cool experience,” she said. “I learned so much about how they benefit from Keep the Music Playing. It was really cool to see these kids perform and work so hard on these songs and then perform them for us. You could just tell they were so proud and that they were such good friends, just from being in the music program together.”

“It’s really a great way for us as musicians and other people to be able to give back,” agreed Young, who has also participated in programs for KTMP. “It’s a great investment of our time, and it’s great for the kids.”

“I’m so passionate about Keep the Music Playing because I remember as a kid that if I didn’t have music to distract me from some other things, I don’t know where I would have ended up,” DeMarcus added. “It helped me focus a little bit more in school, having music to look forward to in the afternoons.”

McCreery concurs that KTMP is “an awesome program. As a performer and a musician, I hear about the public schools and their budget cuts. A lot of times, the first things they cut are their music and arts programs. But these programs are so vital and important to kids and their upbringing. I couldn’t imagine growing up without having arts and music in my school. Keep the Music Playing and CMA are doing great things for these kids, for their future.”

Half of all CMA Music Festival profits are donated annually to Keep the Music Playing. More information is available at www.CMAworld.com.

Tuesday, April 8, 2014

CMA CLOSEUP: NEW ARTIST SPOTLIGHT - DAN + SHAY

Dan Smyers and Shay Mooney of Dan + Shay.
Photo credit: Williams + Hirakawa

By Bob Doerschuk

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

PRESS RELEASE

Early in 2013, Dan Smyers threw a party at his place. Among the folks who showed up was Shay Mooney. They’d never met, though both had been drawn to Nashville to take their chances in Country Music. (Smyers grew up in Pittsburgh, while Mooney came from Natural Dam, Ark.) After playing a few tunes together, they decided to try a little co-writing.

Flash forward to 2014. In those few months, they formalized their musical relationship as Dan + Shay; recorded a debut album (produced by Smyers, with Scott Hendricks and Danny Orton co-producing, released by Warner Bros. Records on April 1); surpassed a quarter of a million sales by March for their first single, “19 You + Me”; cut a video for the song, which quickly reached No. 1 on MTV, VH1 and CMT; and, on March 20, hit the road on Hunter Hayes’ “We’re Not Invisible Tour.”

How did they achieve full speed so fast? The secret is their sound. That debut album, Where It All Began, crackles with upbeat young energy. Their vocals suggest a Rascal Flatts influence: emotional, expressive twists on the melody and powerful harmonies over hard rockin’ riffs.

19 You + Me” reflects their aesthetic perfectly. Written by the duo with Danny Orton, the lyrics outline nostalgic images of a summer romance. Yes, it is commercial, but it’s also impeccably done, with the passion and flair for drama that Country stardom demands. Undoubtedly, they’ll cover even more ground in the year to come.

For more on Dan + Shay, visit www.CMACloseUp.com.

IN THEIR OWN WORDS

MUSICAL HERO

DAN: “Dave Grohl.  I can't wait to hear the music he makes with Zac Brown Band.”

DREAM DUET PARTNER

SHAY: “Shania Twain.”

PET PEEVE

DAN: “iPhone Red Eye Correction.”

FAVORITE MODE OF TRANSPORTATION

SHAY: “Tour bus.”

FAVORITE FOOD ON THE ROAD

DAN: “Trail mix.”

FIRST GIG

SHAY: “Church … I was 3 and I got a kiss on the cheek from a girl I liked.”

GREATEST LONG-TERM CHALLENGE

DAN: “Winning a CMA Award!”

On the Web: www.DanAndShay.com

On Twitter: @DanAndShay

Tuesday, February 18, 2014

CMA CLOSEUP NEW ARTIST SPOTLIGHT: PARMALEE

Parmalee (l-r) Scott Thomas, Matt Thomas, Barry Knox and Josh McSwain.
Photo Credit: Glenn Sweitzer

 

By Bob Doerschuk

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

A Southern rock patrimony, dues paid in church gigs, a player too drunk to pick, and a late-night gunfight: Parmalee’s Country pedigree is as real as it gets.

Brothers Matt and Scott Thomas tagged along on their father’s blues/rock band gigs around Greenville, N.C. Soon they started playing on their own, joined by their cousin Barry Knox, a church choir drummer. After their dad’s inebriated guitar player failed to appear for a show, Matt took his place, with Scott assuming the drum chair and Barry switching to bass. When guitarist and keyboard player Josh McSwain came onboard, Parmalee was born.

Their road led eventually to Nashville — specifically, to a parking lot on Demonbreun Street, where they lived in their RV for a month of intensive writing and demo recording. Even the 2010 flood didn’t stop them, but a bullet almost did: After a North Carolina show in September 2010, Scott suffered a near-fatal wound during a robbery attempt. (He did, however, kill one of his assailants with his own legal weapon.) Ten days in a coma and 35 days of hospitalization were his first steps toward recovery, which culminated in his rejoining the band to audition successfully for Stoney Creek Records.

Produced by the New Voice team, released in December, Feels Like Carolina loosely tells the band’s story through rock-solid vocals, tightly crafted tunes and a few discreet synthesizer effects — just enough to add a distinctive edge while keeping it Country.

For more on Parmalee, visit www.CMACloseUp.com.

IN THEIR OWN WORDS

SONG YOU’D LOVE TO COVER

Knox: “Rockwell’s ‘Somebody’s Watching Me’.”

McSwain: “‘And Justice for All,’ bluegrass style.”

Scott Thomas: “‘My Hero,’ by Foo Fighters.”

ALBUM TOPPING YOUR PLAYLIST

Knox: “Snoop Dogg’s Doggystyle.”

Matt Thomas: “Unorthodox Jukebox, by Bruno Mars.”

DREAM DUET PARTNER

Knox: “P!nk.”

McSwain: “Carrie Underwood.”

Matt Thomas: “Katy Perry.”

SONG YOU WISH YOU HAD WRITTEN

Knox & McSwain: “‘Live Like You Were Dying.’”

Scott Thomas: “‘Happy Birthday.’”

FAVORITE MODE OF TRANSPORTATION


Knox: “Scooter.”

McSwain: “Harley Davidson.”

Matt Thomas: “My Jeep CJ.”

Scott Thomas: “Truck.”

MOMENT YOU’D LIKE TO RELIVE

Knox: “12th grade.”

McSwain: “My wedding in Mexico.”

Matt Thomas: “Any of the shows I played with my dad.”

Scott Thomas: “High school football championship.”

On the Web: www.Parmalee.com

On Twitter: @Parmalee

Tuesday, February 11, 2014

CMA CLOSE UP: ERIC CHURCH LOOKS INSIDE "THE OUTSIDERS"

Photo Credit: John Peets

By David Scarlett©
2014 CMA Close Up® News Service / Country Music Association®, Inc.

Eric Church has spent nearly two hours in an old church-turned-recording studio in East Nashville, playing his new album, The Outsiders, for a group of Nashville media reps gathered to hear his latest offering. And when the listening session ends, the sense of satisfaction and, yes, pride that Church exudes as he answers questions about the project is undeniable. And justified.

The album, Church’s fifth (four studio and one live), is ambitious in its musical and lyrical scope and fearless in continuing the mission of Church and his producer Jay Joyce to push the boundaries of Country Music. Whether by adding a 90-second instrumental section to the end of the title cut and first single (written by Church and Casey Beathard), cleverly reflecting the lyrics in the melody of “Roller Coaster Ride” (Church, Jeff Hyde and Ryan Tyndell), pulling no punches in describing a passionate reunion with his wife after a long road trip in “Like A Wrecking Ball” (Church and Beathard) or including a powerful three-and-a-half-minute spoken word section during what he describes as “the trilogy” near the end of the record, the album is unpredictable.

“For this record, we did ‘A Man Who Was Gonna Die Young’ (Church and Jeremy Spillman) first,” said Church, speaking later during a quiet moment on his bus. “Then we did ‘The Outsiders.’ And I’m looking at these two very different things, thinking, ‘What is this? Where are we going?’ I hate to use the word ‘artistic,’ but it was just so damn artistic, I couldn’t wait to see where it was going from there.”

“(The project) is a whole entity,” producer Joyce explained. “But we’ll sit back and think, ‘What is this little family (of songs) missing?’ And we’re smart enough to stand back and let the record reveal itself. Sure, you’ve got to show up and do the work. But Eric came into the studio with three new tunes this time, so you’ve got to allow for a great song at the last minute. On the last record, I think it was ‘Springsteen’ (Church, Jeff Hyde and Ryan Tyndell) that came in at the last minute. This time it was ‘Wrecking Ball.’”

Joyce knows to expect these last-minute arrivals because he understands Church’s work ethic. The man and his co-writers wrote an astonishing 121 songs in preparation for The Outsiders. Other than family time spent with his wife Katherine and their 2-year-old son Boone, or cutting and splitting wood on the 800 acres they own west of Nashville, writing and otherwise making music is Church’s life — so much so that while he’s involved in suggesting and approving marketing strategies to promote the music, he abstains from another key marketing activity: social media.

“I’ve always kept it about the music,” he said. “I’ve always kept it about ‘this is what I’m good at.’ But it’s allowed our fans to empower themselves. Instead of me tweeting or me getting on Facebook, they do it. Then the next person does it and it spiderwebs. Some people have dogged me for not being on Twitter or Facebook, but we have the same impact. The people are doing that for us. They have a sense of ownership.”

Church’s manager, John Peets, couldn’t agree more. “We have always come from the perspective that music is for people,” he said. “Eric has always written and played for the people in the room. Once you release a record, the music is theirs. We respect them and count on them to spread the word.”

Church even made consideration of his Church Choir fan base a factor in releasing the title cut as the album’s debut single. “Could we have come first with another song off this record that might have been a big hit? Sure. But we didn’t, because I wanted to make a statement that that’s not what this is about. It’s about making sure that we’re pushing boundaries and honoring where we come from. I wanted to make sure that the people who built this foundation hear this record and go, ‘This is the one we’ve been waiting on. This is when they were fully in the screws,’” Church noted, using the golf term that means hitting in the sweet spot of the club.

“I believe with any artist, there’s that moment when you’re writing your best, singing your best and playing your best,” he continued. “The producer’s producing his best and playing his best. There’s that ‘in the screws’ moment. I think we started to hit it with Chief. And I think we hit it on this one.”

“When I make albums, I want to lay my head on the pillow 20 years from now and not regret one thing,” he noted. “I want to have stayed true to my musical and moral compass, because that’s what I trust, regardless of what’s popular or whether you get rich or famous. It’s about looking back and being proud of the work you’ve left behind.

“I may be the most rock ‘n’ roll-influenced artist in the format,” Church concluded. “I’ll admit I love to listen to Pantera. But I revere Country Music. I don’t just do it. I revere it. And I want to make albums to put up on the Country Music shelf with all the Country records I revere and go, ‘This is what we did.’”

More on Church and The Outsiders can be found at www.CMACloseUp.com.

On the Web: www.EricChurch.com

On Twitter: @EricChurch

Tuesday, February 4, 2014

CMA CLOSE UP - NEW ARTIST SPOTLIGHT: ERIC PASLAY

By Bob Doerschuk

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.


Eric Paslay’s story is familiar, from his upbringing in Waco and Temple through his gigs on the Lone Star circuit and inevitable move to Nashville.

Eventually hired by Cal IV Publishing, the tall Texas redhead penned several hits. He won CMA’s coveted Triple Play Award for writing or co-writing three songs that hit No. 1 in 2012: “Angel Eyes,” “Even If It Breaks Your Heart” and “Barefoot Blue Jean Night,” which also was honored as ASCAP’s Country Song of the Year. Impressive, but not unique … yet.

The epiphany comes with his self-titled inaugural album, released Feb. 4 on EMI Records Nashville. Produced by Marshall Altman and Daniel Hill/Billy Lynn, its 11 tracks reflect the strength of this young artist’s work. Compositionally, he cultivates simplicity. Many of his verses cycle just three or even two chords. “Country Side of Heaven” (Paslay, Dylan Altman and Shane McAnally) hangs entirely on the I and V. But on that track, Paslay’s organic dynamics, his inspiring vocals and especially his ability to conjure compelling images enrich both his sound and his story.

Though all his songs are beautifully crafted, one may qualify as a masterpiece. Caressed by a sensitive arrangement, Paslay’s aching vocal and evocative lyrics on “She Don’t Love You” (Paslay and Jennifer Wayne) build on the title (“… she’s just lonely”) to cast a spell that doesn’t resolve until literally the last word. This is supreme writing and execution, by any measure.

For more on Eric, visit www.CMACloseUp.com.

IN HIS OWN WORDS

DREAM DUET PARTNER


“I’ve had the wild fortune of singing with some awesome icons so far (Sheryl Crow, Amy Grant). I’d love to sing with Dolly, Emmylou and Bono … the list could keep growing!”

BOOK ON YOUR NIGHTSTAND

“The Bible.”

ALBUMS IN YOUR PLAYLIST

“U2’s Greatest Hits, Kenny Rogers’ You Can’t Make Old Friends, Coldplay’s Mylo Xyloto and Emmylou Harris’s Wrecking Ball.”

SONG YOU WISH YOU’D WRITTEN
“‘What a Wonderful World.’”

MOMENT IN YOUR LIFE YOU’D LIKE TO RELIVE

“Christmas with my whole family as a child.”

FAVORITE FOOD ON THE ROAD
“Catering, because it’s free!”

FAVORITE MODE OF TRANSPORTATION

“Teleportation.”

On the Web: www.EricPaslay.com

On Twitter: @EricPaslay

Tuesday, January 28, 2014

CMA CLOSE UP: RONNIE MILSAP LOOKS FORWARD TO THE PAST

By Bob Doerschuk

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.


Ronnie Milsap has no fear of mining his past and building his sound on what he retrieves. All the elements of his new single and title track, “Summer Number Seventeen,” written by Joe Hunter and Sam Hunter, harks back musically to much of his catalog. His longtime, loyal fans will ease into it like weary listeners into a warm bath of reverie.

Inspired as much by Jim Reeves as by soul giant Jackie Wilson, Milsap embraces multiple influences. That’s why his new album can’t be pigeonholed any more than his earlier releases. Summer Number Seventeen, released Jan. 28,is a concept project, specifically a tribute to some of the artists and songs that affected him in his formative years. This being Milsap, that means the selections are remarkably diverse, including his versions of Lloyd Price’s “Personality,” Jimmy Ruffin’s “What Becomes of the Broken Hearted” and “Tears On My Pillow” by Little Anthony and the Imperials.

 “We started hearing some of the songs that Ronnie and Richard Landis and Rob Galbraith, his producers, were working on,” said John Jackson, VP, A&R and Content Development, Legacy Recordings. “At first it seemed like, ‘Oh, here’s a bunch of songs that Ronnie likes.’ And there was nothing wrong with that. But when we heard the new song, ‘Summer Number Seventeen,’ I wrapped my head around what that means for him and for everybody, which is to remember back to the summer when maybe you graduated from high school or got your first car or went to the beach with your friends. That’s what he was thinking about. These are songs that he was covering when he was 17 and just starting out. Once that gave the album shape, it made total sense.”

Some of Milsap’s covers stick closely to the arrangement and feel of the original versions. On others, he stretches out and takes the song to a different place. The most notable example is “Georgia On My Mind.” With his personal and professional veneration of the late Ray Charles, Milsap realized that the worst way to approach the song would be to emulate his late friend’s immortal rendition.

“I was going to be inducted into the Georgia Music Hall of Fame in 1990,” he remembered. “They said, ‘Would you perform “Georgia On My Mind”?’ I said, ‘No, I can’t do that! Ray Charles recorded the definitive version.’ They said, ‘Well, just see what you bring to it.’ When we started work on Summer Number Seventeen we couldn’t find the original master, but we had the performance on a DAT that Rob had kept. It’s different than the Ray Charles version, but we really do like what we did.”

Sweetened by a remake of a Milsap classic, “Lost In The Fifties Tonight” (Fred Parris, Troy Seals and Mike Reid), Summer Number Seventeen is essential listening for all who have long loved his music. But there’s plenty for younger fans as well, if not in the elegant orchestrations and resonant vocals, then in the artist’s epic history.

“There’s a backstory of discrimination and misunderstanding of his talent and where he comes from,” Jackson said. “He didn’t understand racism, for instance, so he didn’t differentiate between genres or styles or performers. It was weird to hear Country Music with a piano back then, when everybody was playing guitars. But he had 40 No. 1 hits despite being a little left of center. It’s amazing. And it’s a story that needs to be told to a new generation.”

On the Web: www.RonnieMilsap.com
On Twitter: @RonnieMilsap

Tuesday, January 21, 2014

CMA CLOSEUP: NEW ARTIST SPOTLIGHT: LOGAN BRILL

By Bob Doerschuk

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

Photo Credit: Cassandra Leete

If we were to judge Logan Brill by the lyrics on her debut album, Walking Wires, we might feel a little worried. After all, she sings about being haunted by a lost relationship on “No Such Thing As Ghosts” (written by Chris Stapleton), the consequences of staying with a stranger in a hotel room on “Month of Bad Habits” (Andrew Combs and Doug Johnson), forlornly “going from bar to bar” on “Rewind” (Paolo Nutini), being “too tired to swim, too weak to crawl” on “Seven Year Rain” (Heather Little and Travis Meadows) …

But don’t call for an intervention. Instead, marvel at how this upbeat, positive 22-year-old brings a sad story to life. Brill was born with a strong, assertive voice, which she has sculpted into an expressive instrument. When she interprets Patty Griffin’s “Nobody’s Crying,” she animates the melody with tasteful filigrees, and on key words she subtly hardens her timbre to more vividly convey anger. Yet she also maintains a conversational quality — no easy feat.

Raised in Knoxville, Tenn., Brill enrolled in Nashville’s Belmont University in 2009 as a vocal performance major. Location and talent combined to connect her to Carnival Music, which released Walking Wires on Oct. 15. Produced by Matthew Miller and Oran Thornton, the album is also a sonic triumph. Layered guitars, meaty organs and, on Audra Mae’s “Ne’er Do Wells,” some imaginative voice processing combine with Brill’s delivery to create a winning combination.

IN HER OWN WORDS

ALBUM ON YOUR PLAYLIST

Dawes, Stories Don’t End. I’ve been wearing that album out the past few months.”

DREAM DUET PARTNER
“If I could go back in time, my dream duet partner would be Ray Charles and we would sing ‘Georgia on My Mind.’”

BOOK ON YOUR NIGHTSTAND

“A collection of love poems. It has everything from Shakespeare to Emily Dickinson.”

LUCKY CHARM

“Before I play a show, my two main men are Van Morrison and Jack Daniels.”

FAVORITE FOOD ON THE ROAD

“The veggie burger at Burger King with a large fry and some zesty sauce. Delicious and easy to eat on the go.”

SOMETHING WE’D NEVER GUESS ABOUT YOU

“I have a degree in French.”

On the Web: www.LoganBrill.com

On Twitter: @LoganBrillMusic

Tuesday, January 14, 2014

CMA CLOSEUP: NEW ARTIST SPOTLIGHT - JON PARDI

Photo Credit: Russ Harrington

By Bob Doerschuk

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

Saloon pianos clink, guitars crunch and fiddles, well, they fiddle throughout Write You a Song, Jon Pardi’s debut album on Capitol Records Nashville. And it fits together into a package that practically dares you not to get up and dance.

A lot of Pardi’s energy stems from days on the road and long nights on stages throughout his home state of California. He was already absorbing the spirit of real-world Country when he performed “Friends in Low Places” at age 7 for his father’s 30th birthday party. His first songs came at 12, his first band debuted two years later. The move to Nashville followed two restless years at Butte Junior College.

Apparently his experiences left Pardi unscarred. While there are no tears-in-my-beer blues here, that’s not to say he avoids introspective material. But even on the down-tempo “Love Hangs Around” (written by Pardi, Treat Summar and Odie Blackmon), you sense that it’s just a matter of time before the lyric’s two long-distance lovers enjoy a happy reunion.

Similarly, the rockin’ numbers have dimension. You’ll hear hardly a mention of trucks or cut-off jeans; instead, actual stories inhabit his down-home grooves. The title cut (Pardi, Bart Butler and Davy Ulbrich), as well as “Up All Night” (Pardi, Butler and Brett Beavers), showcase his fondness for melodies built on tight, repetitive motifs. The guy just sounds like he’s having a ball, and with his amiable drawl he’s inviting us all to join him.

IN HIS OWN WORDS

MUSICAL HERO


“There are so many, I don’t know where to start. Elvis was pretty awesome, though.”

ALBUM ON YOUR PLAYLIST

“Bakersfield, by Vince Gill and Paul Franklin.”

DREAM DUET PARTNER

“Willie Nelson. Willie just takes a song up to a whole new level.”

PET PEEVE

“People who eat really loud.”

TITLE OF YOUR AUTOBIOGRAPHY

“Life of the Pardi.”

On the Web: www.JonPardi.com

On Twitter: @JonPardi

Tuesday, January 7, 2014

CMA CLOSEUP NEW ARTIST SPOTLIGHT: KAYLA CALABRESE


By Bob Doerschuk

© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

You can thank the CVS drugstore chain for getting Kayla Calabrese excited about Country Music. After all, she was born in Pine Beach, N.J., far from the nearest ranch or honky-tonk. Her family is pure Italian-American. Though she definitely enjoyed singing, Calabrese grew up dreaming more of being a doctor than a Country crooner.

All of that changed when she and her mother took part in a scavenger hunt for tickets to a Martina McBride concert in Reading, Pa. Amazingly, they beat everyone else to the CVS pharmacy where the prize was hidden behind some greeting cards. With that, a new dream took shape.

At 17, Calabrese made the pilgrimage to Nashville. There, she earned a nursing degree from Belmont University, worked at Baptist Hospital and taught gymnastics. She also met Kent Wells, who mentored her as she began writing songs and produced her as she recorded her debut EP.

The self-titled results were released digitally by Go Time Records in September. As co-writer on all six tracks, Calabrese shows that she knows how to come up with a hook and, as a singer, drive it home. With McBride and Carrie Underwood evident among her influences, she shines against powerful instrumental backdrops.

On the power ballad “Kiss Me,” which she wrote with Tami Hinesh, the message rolls out over muscular guitar arpeggios. It’s Calabrese’s buoyant delivery that bats this single all the way from the Jersey shore into the heart of Country.

IN HER OWN WORDS

MUSICAL HERO

“Martina McBride.”

ALBUM ON YOUR PLAYLIST

“Right now, it’s Sara Bareilles, The Blessed Unrest.”

DREAM DUET PARTNERS

“Martina McBride and Idina Menzel.”

MOMENT YOU WISH YOU COULD RELIVE

“I don’t really believe in regrets. Everything happens for a reason. I am where I am today because of the decisions I have made.”

TITLE OF YOUR AUTOBIOGRAPHY

“Believe. It’s my favorite word.”

On the Web: www.KaylaCalabrese.com

On Twitter: @KaylaCalabrese

Tuesday, December 17, 2013

CMA CLOSE UP: JAKE OWENS' SOCIAL NETWORK SECRETS

By Erin Duvall

© 2013 CMA Close Up® News Service / Country Music Association®, Inc.

 Photo Credit: Danny Clinch

To follow Jake Owen on Twitter is to know him. The Florida native has a reputation for cultivating personal relationships over social media through his active and open presence. Whether it’s sharing new music or the entire track list for his latest album, Days of Gold, as he did in October, or inviting fans to impromptu, real-life meetings, Owen has grown his Twitter account and his brand to an extent that even he can’t believe.

“I never would have thought that I could move to a town with a dream, start fulfilling it as far as getting a record deal and putting out some music, and then eight years later have a million people following me on Twitter,” he said. “People don’t have you on Twitter. If they do, it’s because they want to know what’s going on in your life. It makes me feel good to know that people care enough about what I’m doing.”

Owen has worked hard to develop that relationship. No manager or label staffer runs his Twitter account. Owen handles his own online identity, a freedom that isn’t afforded to him in every aspect of his career. “The beautiful introduction of social media over the last few years has made it so if artists want to take the time to connect with their fans, there’s nothing stopping them,” he said. “There’s no one telling me I can’t. If I want to invite 10 people onto my boat, I can."

Photo Credit: John Russell / CMA

“Jake is one of the best at conversing with his fans through the socials,” said Gary Overton, Chairman/CEO, Sony Music Nashville. “I don’t think the guy sleeps! There has not been an accurate matrix formulated that can measure direct links from socials to sales, but we definitely feel the lift in Jake’s career and public awareness of him through the socials.”

It is not uncommon for Owen to even invite fans out to meet him in person. “The other night, my wife and I were sitting around, drinking beers and watching football in Montana,” he recalled. “I asked people where to go to dinner, and then when I got to where we were going, I was like, ‘Hey, I’m at Old Chicago Pizza, or whatever. Come on down! I’m buying beer if you’re drinking.’ Like, 40 people showed up, people who got in the car and drove across town at 10 o’clock at night to shyly ask for a photo. To me, that’s so fulfilling, to be able to show people that I’m not just some guy on TV or the radio. I’m a real person.”

These meetings with fans are never planned, according to Owen. “It’s just spur-of-the-moment,” he insisted. “I’m usually not doing anything. People are like, ‘I can’t believe you’d invite people to come down and have beers with you on your bus.’ And I’m like, ‘I’m sitting here doing nothing. Who would not want to have a beer in the first place, let alone with someone who is excited to come to the show?”

The new father will often share his personal life too. Whether it’s a photo of his father in the hospital or videos of his daughter, Olive Pearl, who was born November 22, 2012, Owen seems to be an open book.

“I have friends who are artists, who are like, ‘I can’t believe you do the things you do. I can’t believe you don’t want more privacy,’” Owen said. “For me, it’s almost backwards: I think giving people more, they’re content. They don’t have to dig. No one is ever digging into my life to find out anything because I’ve pretty much already told them, or they figure I’ll tell them anyway. I don’t ever want to be the guy who hides behind the shadows, comes out onstage as a mystery and then leaves again.”

Never mind that this “strategy” has served Owen well professionally. In the end, his reasons for reaching out are simpler than that. “I love that feeling of seeing people smile,” he said. “I love to reach down into the crowd, pull a little kid off his dad’s shoulders, walk him back to the drum stand, hand him a drumstick, high-five him and walk him back to his dad. It’s not just about knowing that I made the kid’s night, but knowing that the dad, when he goes home tonight, will be the coolest dad ever. Those are powerful things that I can do with my life and career. I’m not going to waste time in my life not doing the best I can for the people who give me this awesome opportunity.”

On the Web: www.JakeOwen.net

On Twitter: @JakeOwen

Tuesday, December 10, 2013

CMA CLOSEUP - NEW ARTIST SPOTLIGHT: BRANDY CLARK

Personal Note: Keep an eye out for Brandy Clark in 2014. She was overlooked in 2013 but that's gonna change this new year. She has one of the best female voices in country music, the attitude and her songwriting abilities are amazing! We highly recommend her cd, "12 Stories", one of the best cd releases of 2013. Brandy Clark is #OnetoWatch.


By Bob Doerschuk

© 2013 CMA Close Up® News Service / Country Music Association®, Inc.

Brandy Clark came to Nashville from Morton, Wash., where she watched her grandmother smoke on the front porch as Mount St. Helens erupted a short ways away, and later worked in a fencing mill. Her love for Patsy Cline, Merle Haggard and Loretta Lynn, coupled with her perceptive observations of everyday characters, fueled her ascension as a songwriter. Two No. 1 hits — The Band Perry’s “Better Dig Two” and Miranda Lambert’s “Mama’s Broken Heart” — are Clark co-writes, along with Kacey Musgraves’ “Follow Your Arrow” and “It Is What It Is” and songs picked up by Sheryl Crow, Kellie Pickler, Reba, Darius Rucker and Kenny Rogers.

What’s surprising is why she waited until now to step forward as a performer. Throughout 12 Stories, produced by Dave Brainard and released by Slate Creek Records, Clark gets deep inside each lyric with an understated but tuneful delivery; sometimes ironic, sometimes laconic, she lets the tales speak vividly for themselves.

Her first single, “Stripes” (written by Clark, Matt Jenkins and Shane McAnally), recounts the protagonist’s decision not to blow away her dimwit boyfriend because “I don’t look good in orange and I hate stripes,” told to the twang and gallop of a spaghetti Western soundtrack.

Every other track is a gem too. It’s not necessary to single any of them out; taken individually and as a whole, they confirm that as long as Brandy Clark is around, poetic narrative in the finest tradition of country songwriting will endure.

IN HER OWN WORDS

MUSICAL HERO

“Dolly Parton.”

SONG YOU’D LOVE TO COVER

“‘Here You Come Again.’”

TOP ALBUM ON YOUR PLAYLIST

“A random compilation of sad songs.”

WHAT YOU SING IN THE SHOWER

“I don’t sing in the shower. It’s too easy to inhale water ;).”

WORD YOU SAY OVER AND OVER

“At the end of the day.”

WHAT YOU’D BE IF NOT A MUSICAL ARTIST

“An esthetician.”

GREATEST PERFORMANCE TO DATE

“Opening a show in Carmel, Ind., for Sheryl Crow – perfect venue and perfect audience.”

FAVORITE FOOD ON THE ROAD

“Room service.”

SOMETHING WE’D NEVER GUESS ABOUT YOU

“I spent my first two summers after school fighting forest fires.”

On the Web:  www.BrandyClarkMusic.com

On Twitter: @TheBrandyClark

Tuesday, December 3, 2013

CMA COUNTRY CLOSEUP: DUCK DYNASTY'S FAMILY CHRISTMAS

By Deborah Evans Price

© 2013 CMA Close Up® News Service / Country Music Association®, Inc.


It’s nearly impossible to turn on the television or visit any Walmart, Books-A-Million or Bass Pro Shop without encountering images of the bearded Robertson clan from A&E’s “Duck Dynasty.” It’s the No. 1 nonfiction show in the history of cable television.

Where could they possibly go from here? To Nashville, of course, to make their recording debut.

On Oct. 29, EMI Records Nashville released Duck the Halls: A Robertson Family Christmas. The album features members of the Robertson family singing classic holiday tunes as well as originals, including “Ragin’ Cajun Redneck Christmas,” written by Dallas Davidson and Willie Robertson, the CEO of Duck Commander, the duck-call business that has made them multimillionaires.

“Nothing says Christmas more than big hairy men in Santa hats,” joked Willie.

Thanks to the popularity of any product associated with “Duck Dynasty,” a number of labels wanted to land Duck the Halls. “We felt really awesome to be able to sit down with every company, talk to them and get a feel for who they are and decide who we wanted to go with,” said Korie. “It’s a real honor to us to be able to do that. We’re people with heart, and we go where it leads us. We sat down with Universal and it just felt right. It felt like they were speaking our language. We all looked at each other — it was Willie and I and Jase and Missy went up there — and at the end of the day said, ‘That’s who we feel gets us and gets who we are.’”

Because the Robertsons were busy filming the next season of their show, most of Duck the Halls was recorded at Music City Studios in their hometown, West Monroe, La. Missy helped corral the family and taught them their parts for the group sing-alongs. It helped that they’ve always sung in their local church and were used to singing harmony.

“It was so much fun,” Missy remembered. “That’s my element. I’ve taught kids for so long. The first song we did together was ‘Silent Night.’ We wanted four-part harmony, so I said, ‘I’ll try to get everyone started, and then we can all sing like we do at church.’ I ended up standing in front of them and directing them, like a choral director. They couldn’t all see me, so they brought me a chair. I was like, ‘This is definitely working for me. I’m standing on a chair in front of my family and they are having to watch and listen to me.’ That was a pretty wonderful experience.”

“Missy is obviously a really good singer,” said producer Buddy Cannon. “I leaned on her a lot because the whole family respects her singing ability and her knowledge, so I relied on her to help me coordinate with different people as far as who was going to be in the studio at what time and who would do which parts the best.

“Willie was a bit nervous at first when he came in to do his vocals,” the producer continued. “But once he got in there and sang it a few times and realized I wasn’t going to kill him or make it difficult for him, he got into it and started having fun. I was the same way with all of them. They didn’t know what to expect. Those guys never dreamed of being singers and making a record. Phil kept coming up and he’d say, ‘You really believe you are going to make Country singers out of us?’”

Cannon’s goal was to represent the Robertsons the same way the hit TV show does. “What I decided I needed to do was not to try to make a perfect record, but to try to make it believable to all their fans,” he said. “When we were working, it was like I was sitting in the middle of one of their shows the whole time. No matter who, no matter which of the characters, was in the studio, it was like it was transported into one of their shows. It was a hoot.”

Everyone involved knows that some skeptics question whether a hit TV show can spawn a hit album, but Jase believes they’re in for a surprise. “Hopefully, they’ll listen to it and say, ‘They can actually sing too,’” he said, with a laugh. “We’re just like we are on TV. We don’t consider ourselves celebrities or stars. That’s just not the way we roll.”

On the Web: www.DuckTheHalls.com

On Twitter: @DuckDynastyAE

Tuesday, November 26, 2013

JENNIFER NETTLES GOES IT ALONE

WWW.JENNIFERNETTLES.COM
Photo Credit: James Minchin III

By Kip Kirby

© 2013 CMA Close Up® News Service / Country Music Association®, Inc.

They say it begins with a song. For Jennifer Nettles, it began with a phone call.

Rick Rubin had long been at the top of the singer’s wish list of producers, but it wasn’t until her manager, Gail Gellman, suggested she make the call that Nettles picked up the phone. Best known for her front-and-center work with the duo Sugarland, Nettles had been quietly preparing for three years to cut her own album, writing songs she believed took her to a whole new level of artistry.

“I approached it like I do most everything in my life, with a lot of forethought and a lot of dreaming ahead of time,” she said. “I love what Sugarland has done, but for quite a while, a part of me has not only wanted to prove myself to myself, but also to share with my fans a part of me that just can’t happen in a duo. There are parts of me that are special and intimate that I’d like to share with my fans, but I can’t go there in an ensemble situation with Kristian (Bush). So for personal and artistic reasons, I wanted to do something new and fresh, to shake things up and put a different part of myself out there.”

Rubin possesses a jaw-dropping list of production credits, which include Adele’s Grammy-winning 21 and Johnny Cash’s majestic final American Recording series, not to mention works by Aerosmith, LL Cool J, Metallica, Tom Petty and U2. Still, Nettles didn’t have to camp out on his doorstep to get his attention.

“I love her voice,” Rubin said, recalling their initial communication. “When she sent me some early demos of the songs she was writing, I got even more excited about making music together. It was a fantastic experience. Jennifer is as great a person as she is a singer and songwriter, and I hope people feel the positive energy we all felt in the studio.”

The resulting 14-track album, That Girl, sched­uled to drop Jan. 14 on Mercury Records, show-cases Nettles’ genre-crossing vocal artistry and songwriting strengths. Except for a striking cover of Bob Seger’s “Like a Rock,” each song bears her name as a writer. Her co-writers include people she’d worked with in the past and others she’d phoned on a whim because she felt they’d be right for the project, including Sara Bareilles, Richard Marx, Mike Reid and Butch Walker.

Nettles altered her usual writing process for That Girl, spending hours alone at the piano rather than relying chiefly on guitar, as she’d done previously. “I left myself completely open from the beginning in writing for this project,” she said. “I’m in a different place in my life now. I’m more mature as a woman, and I’ve had my child. I didn’t want to put any constraints on myself. I needed to trust my voice and my songwriting in order to be vulnerable and trust someone else in the studio. Really, what I hope people will say when they listen to this album is, ‘Wow. Wow, that really took me on a journey. And wow, she is a much better singer and songwriter than I would ever have known.’ I hope they see another side of me.”

Besides the album, Nettles has something else to be excited about: her return for the fourth consecutive year as host of “CMA Country Christmas,” airing Dec. 2 on the ABC Television Network. “What I love about working with Jennifer is that she’s exactly in real life who she is on television,” said Robert Deaton, who has served as Executive Producer of the special since its launch in 2010. “She’s like a bright light that never dims. She loves the entertainment side of what we do. We try to pay homage to the old Bing Crosby/Dean Martin variety shows where Jennifer comes onstage and does interviews. That’s a talent in itself, to be able to do an interview in front of thousands of people and yet still be listening to the person you’re interviewing and moving it along.”

Nettles has several favorite moments from her ongoing run. “I absolutely loved Miss Piggy and Vince Gill (singing ‘Baby, It’s Cold Outside’ in 2011),” she recalled. “And I love that last year, we added interviews with the kids. That was super fun for me. I love seeing the evolution from where it’s been to where it is now. To be a part of it is a really big honor. I hope it’s something that keeps happening for years and years.”

For all that she has achieved, for all the CMA and Grammy Awards she’s won, and even for launching her first solo tour in February, Nettles does have one more goal. “How fun would it be to be nominated by CMA for Female Vocalist of the Year? Or to win awards as a solo artist? That would mean the world to me.”

On the Web: JenniferNettles.com

On Twitter: @JenniferNettles

Tuesday, October 8, 2013

CMA CLOSE UP: JUSTIN MOORE STRADDLES THE STANDARD/DELUXE LINE

By Tricia DesPres
© 2013 CMA Close Up® News Service / Country Music Association®, Inc.

Justin Moore is a man who listens to his gut … and his gut was telling him that Off the Beaten Path, his third studio album on The Valory Music Co. label, was complete. In fact, he was sure that these 16 tracks would tell the story he wanted to tell, as an artist and a person, more clearly than anything he had recorded previously.

There was just one problem.

“I had 16 songs that I was attached to and 16 songs I was determined for my fans to hear,” he recalled. “In my mind, I had a complete album.”

His label agreed. So why, then, is the track list shorter on the standard release of Off the Beaten Path?

Because The Valory Music Co. decided that, with two Gold albums under his belt and a string of successful singles, Moore had a fan base that would support both that standard release as well as a deluxe version, which would feature all 16 songs.

It’s a situation confronted with increasing frequency by artists and labels. In an industry where the act of reinventing oneself is expected to some degree with each new album, deluxe editions have become more popular among fans as well as label executives. From exclusive content to additional tracks to different album covers, many artists now use deluxe versions of their album to go a bit … off the beaten path.

“Deluxe versions are created for the über fans who want more from their favorite artists,” explained Kelly Rich, Senior VP, Sales and Marketing, Big Machine Label Group. “Justin’s fans are very passionate, so this was an opportunity for him to give them more. His fan base continues to grow, and with that growth comes the opportunity to offer them additional content outside of the standard release.”

“I love the fact that if some folks can’t afford the $12.99 or $13.99, they can still get the majority of the 16 songs at a lower price,” said Moore. “It’s one of the best things about offering two versions of the album. I know how bad the economy is out there, and I know that I have fans out there that can’t afford to buy the entire album. They just can’t do it. It’s one of the biggest things that swayed us to do the two versions.

“I feel really blessed that I am at a point in my career to even do a deluxe album at all,” he continued. “The standard version is going to get the fans all the songs they will probably hear on the radio. The deluxe version has more of what I like to call my lifestyle songs, the songs that will ultimately give them a keen insight into who I really am. I’ve learned that it matters who people hear on the radio and see on the television, but it’s really more about what you are like as a person. These songs will give my diehard fans a keen insight into who I am.”

The titles alone of those five additional studio tracks on the deluxe version sound like the Justin Moore that his fans have grown to love, including “Beer” (written by Moore, Brandon Kinney and Jeremy Stover), “Big Ass Headache” (Moore, Kinney and Stover) and “Field Fulla Hillbillies” (Bobby Huff, Shane Minor and David Lee Murphy). But that wasn’t the only reason Moore chose them to save for his deluxe package.

“Putting an album together is like a puzzle,” he reflected. “You put in songs. You pull out songs. For me, the album I cut is the deluxe. The songs on the deluxe were chosen because of different reasons. With some choices, it was because of the fact that we already had similar songs chosen for the standard. In some cases, it was because of the song being a fan favorite already.”

Produced by Stover, the album comes as a welcome treat to Moore’s fans, who have waited for two years for some Moore music. “It’s crazy that this is my third album already,” said the young artist, who found his place on the map of a constantly changing Country genre with “Small Town USA” and “Til My Last Day” (both by Moore, Brian Maher and Stover) and “If Heaven Wasn’t So Far Away” (Dallas Davidson, Robert Henry Hatch and Brett Jones).

It is also something of a change in direction, as Moore sees it. His first two albums, Justin Moore and Outlaws Like Me, were certified Gold, with Outlaws Like Me debuting at No. 1 on the Billboard Country Albums chart.

Even so, he knew full well that to remain current, he needed to be open to change. “With the business ever changing, it was my intention to also evolve as an artist and a songwriter and stretch my limits in order to grow my fan base to a point that it hasn’t been yet,” he said. “We’ve accomplished a lot and been very successful, but the end goal is to go out there and headline arenas. I felt like we needed to grow a bit on this album in order to do that.”

The effort is paying off. Moore’s most recent hit, “Point At You” (Ross Copperman, Rhett Akins and Ben Hayslip), was the fastest-rising single of his career. And on Nov. 1, he’ll be in Springfield, Mo., to commence a headlining tour, joined by Randy Houser and Josh Thompson.

“We have been able to not only accomplish so much with the first two albums, but also the singles and the shows,” Moore reflected. “It’s just been amazing. I’ve said for a long time that I was proud of both of them. It’s been one of the most humbling, rewarding and exciting things to watch both albums go Gold. It just doesn’t happen these days.”

On the Web: www.BigMachineLabelGroup.com/artist/Justin_Moore

On Twitter: @JustinColeMoore

Photo credit: Kristin Barlowe

Wednesday, September 25, 2013

CMA CLOSE UP: THE COURT YARD HOUNDS AREN'T JUST WHISTLING DIXIE

Photo Credit: James Minchin

By Ken Tucker

© 2013 CMA Close Up® News Service / Country Music Association®, Inc.

Let’s get this out of the way right up front. The Court Yard Hounds, composed of sisters Emily Robison and Martie Maguire, will always be linked to another group they’re a part of — the Dixie Chicks. Formed in 1989 with Laura Lynch and Robin Lynn Macy, they pared down to a trio with lead singer Natalie Maines. In this configuration, they won 10 CMA Awards and dominated Country Music from the late 1990s until 2006, when their ongoing recording hiatus began.

The story behind this hiatus is the stuff of Country Music history. In 2003, Maines uttered now-famous words at a concert in London to express displeasure over the impending second Gulf War: “We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas.”

The furor over that comment ultimately forced the Dixie Chicks to close shop, mostly at the insistence of Maines. Though she officially apologized to the target of her ire, then-President George Bush, she received a death threat, among other negative responses. “Natalie said, ‘I need a break — and a long break,’” Maguire recalled.

After a few years off the road and away from recording cycles, the sisters declared it was time to continue the musical journey they had begun together in their youth. “We didn’t want to put pressure on Natalie,” Maguire said. “We just decided to shift gears.”

Photo Credit: James Minchin

Robison and Maguire, who forged their family harmonies and instrumental virtuosity at an early age, released their self-titled Court Yard Hounds in 2010. Their second album, Amelita, followed in July.

Jim Scott, who engineered the most recent Dixie Chicks album, Taking the Long Way, and produced both Court Yard Hounds albums, sees similarities between the two groups. “At no time with either the Dixie Chicks or the Court Yard Hounds did anyone talk about making a hit record, ever,” he said. “They want to be successful. They want to be in the game. They want to sell records for a living. They want to tour for a living. But these aren’t calculating people. These are humble, normal people that want to make great music.”

Of course, there is at least one significant difference. The Dixie Chicks featured Maines on lead vocals, and the sisters share the lead in the Court Yard Hounds. “Natalie has been a lead singer all her life,” Scott observed. “Martie and Emily have not been lead singers all their lives. They’ve been harmony singers. They’ve made only two records as lead singers. They’re still learning how to do that. If you would ask them what their Achilles heel is, they would say that’s it.”

Photo Credit: Frank Ockenfels

Where their first album was in many ways influenced by Robison’s divorce from singer/songwriter Charlie Robison, Amelita touches on a variety of topics. Like a Lifetime movie, the title cut is inspired by a real-life incident. While shooting the Dixie Chicks video for “Long Time Gone” in the Mexican border town of Reynosa, the sisters noticed that there was a brothel across the street.

“We were naïve,” Maguire admitted. “Someone had to tell us what was going on. It was such a weird thing to be doing this video in this little town and to see that happen right next to you. We realized they were open for business. It just broke my heart.”

Ever hopeful, the sisters wrote the song imagining that the lead character could be rescued from her situation.

Other highlights of Amelita include “Phoebe” (Maguire, Robison and Martin Strayer), an eerie, fiddle-haunted rocker with a suicide theme, and the sarcastically titled single “Sunshine” (Strayer, Robison, Maguire, Jonatha Brooke and Alex Dezen), a portrait of a narcissist. Robison sings lead on most songs, but Maguire takes the spotlight on “A Guy Like You” (Strayer and Maguire). Deciding who will sing lead is easy, according to Maguire. “We always kind of naturally know,” she said. “We don’t fight over anything but clothes.”

Producer Scott says that whether Amelita is a Country record or not depends on the ears of each listener. “We talked about just making the best record that we could and coming up with the best songs,” he said. “We didn’t try to make a Country record. We certainly didn’t make a pop record. But it does kind of rock.”

Scott, whose credits include sessions with Tom Petty, the Red Hot Chili Peppers and Wilco, among others, notes that working with moms Maguire and Robison is very different from working with rockers. “You’ve got to work around a mom’s schedule,” he said, with a laugh. “These aren’t rock star dudes that stumble in at noon and can work until 1 a.m. and drink Jack Daniel’s. They have responsibilities. They have to go to soccer games. They have to do drop-off and pick-up. They have work to do — real work.”

The sisters bristle at the suggestion that the Court Yard Hounds are a side project. Even so, they are back onstage with Maines for a series of Canadian dates throughout the remainder of 2013, with another North Country headline tour following in 2014.

On the Web: www.CourtYardHounds.com

On Twitter: @CourtYardHounds; @MartieMaguire; @EmilyRobison