the Direct Buzz - October 2010

AMERICANA EDITION

Jim Lauderdale The Coolest Guy in Town AMA Festival Coverage the Direct Buzz Celebrates One Year!

Music City Roots Featured Artists & Reviews ADP Global Radio Indicator Charts™ Americana Music Charts European HotDisc Charts Christian Music Weekly

October 2010

The Americana Music Association thanks all of you who participated in this years Festival & Conference.

We couldn’t have done it without you.

www.americanamusic.org

8 Cover Story If Americana has a poster child, it is Jim Lauderdale. His multi-faceted career defines the genre. From his own Grammy-winning solo career to his work with other top artists from Willie to Elvis Costello, Lauderdale is one of the most versatile talents in the format. Who else writes for George Strait and collaborates with Grateful Dead lyricist, Robert Hunter?

17 Behind the Desk Todd Mayo and John Walker are the Executive Producers of Music City Roots: Live from the Loveless Café, Nashville’s newest live music attraction. Their weekly variety concert series showcases the best talent Americana has to offer. They are also passionate about creating new ways to help the music business survive.

32 BEYOND THE SONG Gospel and soul-singing sensation Mike Farris recently assembled an all-star group at Nashville’s historic Downtown Presbyterian Church to record The Night The Cumberland Came Alive, whose partial sales benefit the church’s ministry to the homeless.

29 THE INDIE WAY: Tips on “Making It” from CSI composer, John M. Keane

36 AMA Music Festival & Conference 2010 The Direct Buzz presents a wrap-up of the festival’s shows, the artists who were there, and the robust state of this ever-expanding musical genre.

47 APD GLOBAL RADIO INDICATOR CHARTS™ New Genre-Specific Charts!

55 AMERICANA MUSIC ASSOCIATION CHARTS 58 EUROPEAN HOTDISC CHARTS 62 CHRISTIAN MUSIC WEEKLY ---------------------------------------------------------------PUBLISHER & FOUNDER: Robert Weingartz EDITOR: Clif Doyal DIRECTOR OF SPECIAL PROJECTS: Scott Welch DIRECTOR OF ADVERTISING: Shelly Korolewicz CONTRIBUTING WRITERS: Clif Doyal, Mike Hagler, Jr, Paul Clifford, Susan Fischer, Spanky Brown, Jessica Stiles, John M. Keane ART DIRECTION: Aleven Creatives (aleven.com) COVER PHOTOGRAPHY CREDIT: Scarlati

---------------------------------------------------------------© 2010 by AirPlay Direct, LLC. All Rights Reserved.

FROM THE PUBLISHER Welcome to the October special Americana Edition of the Direct Buzz!

The Americana Music Association recently hosted their annual Americana Music Festival and Conference in Nashville. The Direct Buzz was there to capture the highlights, from panels and showcases, to their star-studded awards show which ended with a surprise performance from former Led Zeppelin front man, Robert Plant.

Americana, as a genre, is growing in popularity. Who better to represent the movement on our cover than Grammy-winning talent and all around nice guy, Jim Lauderdale? His multi-faceted career defines Americana. From his solo output, to his work with the likes of Willie, Ralph Stanley and Elvis Costello, Lauderdale is one of the most versatile artists in the format. Who else writes for George Strait and collaborates with Grateful Dead lyricist, Robert Hunter?

We visit with Todd Mayo and John Walker, Executive Producers of “Music City Roots: Live from the Loveless Café” in our “Behind the Desk” feature. Entering into its second year of production, their variety show has hosted a diverse group of music, including Americana’s top artists. We are excited about how they are taking a page from the past to move live music into the future.

CSI composer John M. Keane (also a Pop/ AC/Americana artist) contributes his tips on “Making It” in our “Indie Way.” Dove Awardwinning Gospel/Americana/Soul singer Mike Farris talks about his new album recorded at the historic Downtown Presbyterian Church in Nashville. Part of its proceeds will benefit the homeless.

With this edition, the Direct Buzz enters into our second year. As new music business models show themselves daily, we are witnessing history in the making. We will never pass this way again. These are exciting times indeed.

Robert Weingartz Founder & CEO, AirPlay Direct Founder & Publisher, the Direct Buzz

THE WRITERS ROUND A Songwriter Profile by Clif Doyal

Ray Wylie Hubbard “Drunken Poet’s Dream” Nominee - 2010 AMA “Song of the Year” Written by Ray Wylie Hubbard and Hayes Carll

O

ne of the first Texas “Outlaws” (before the term was even coined), Ray Wylie Hubbard mixes elements of Country, Folk, Rock, and Blues with deep poetic lyrics.

A true “Cosmic Cowboy,” they broke the mold when they made him. My first exposure to Hubbard was at Willie Nelson’s 4th of July Picnic in Gonzales, Texas in 1976. Willie was known for bringing rednecks and hippies together to party and have a good time, and Hubbard was determined to galvanize the unwashed masses gathered there. When he and his “Cowboy Twinkies” hit the stage with some original country-styled things, and a Merle Haggard song, then went straight into Led Zeppelin’s “Communication Breakdown” and a blistering take on Jimi Hendrix’s “Star Spangled Banner” (complete with an exploding roll of fire crackers unexpectedly thrown onstage by someone), I was blown away.

Video courtesy of Music Fog

Later on, some called them the first cowpunk group. Whatever it was called, the band totally disregarded country music etiquette and upset many traditionalists – and I loved every minute of it. “What we lacked in talent, we made up for in attitude,” Hubbard told me in a recent interview where he talked about his song “Drunken

Poet’s Dream,” his new album, A. Enlightenment, B. Endarkenment (Hint: There is no C), and tales from his long, strange trip.

WR: How did the song, “Drunken Poet’s Dream” come about?

RWH: I met Hayes Carll thru my old buddy Rex Bell at the Old Quarter Acoustic Café in Galveston. Before the show, I walked up

to Hayes and said, “So you’re the opening act - are you any good?

‘Cause my crowd can be like a hungry pack of wolves and they will tear you up if you can’t throw down.” He assured me that he was - and I liked his attitude. Sometime later, he called me and said he wanted to write with me, and so I drove up to Austin. When I walked in, he gave me the first line “I got a woman she’s wild as Rome,” and I came back with “She likes to lay naked and be gazed upon.” And so we were off. We got most of it written that day, and we came up with different lines and communicated with e-mail and stuff. His version included a bridge and mine did not. I’m too old to write bridges. It’s like the same song – but 2 different songs at the same time.

WR: How did you come up with the title for your new album: A. Enlightenment, B. Endarkenment (Hint: There is no C)?

RWH: I was reading Edgar Allen Poe’s “The Raven,” it’s my favorite poem. And I wondered: “What would a black sparrow call the album?” And that is what he called it. There’s good and light: Enlightenment; bad and dark: Endarkenment. That’s not even a real word.

It’s kind of a weird thing … and I like weird things. But there’s no C. It’s either black or white; there’s no gray. I started having some thoughts, songs about drunken poets and dead call girls and “Whoop and Hollar” and “Four Horsemen of the Apocalypse.” You know, spiritual and secular; One foot in one world, or one foot in the other. If you think about it, heaven is rain, which is good, but there are lighting bolts, which can kill you.

It seemed to fit what this album is about. Having the freedom to write whatever you want to write - that is empowering.

WR: How did you come up with

your song, “Up Against the Wall, Redneck Mother?” And how did Jerry Jeff come to record it?

RWH: It was very turbulent times; the Vietnam War was going on, and “Okie From Muskogee” had been a big song. I kind of remember the “deck” was really split and everything seemed kinda polarized. I was up in Red River (Colorado) at the time and there was a place called the D Bar D. If you had long hair, you didn’t go in there; you hung out at the “cool musician hippie bar” down the street. But one night, I did go there. I walked up to this old woman behind the bar and asked for a case of beer to go, and suddenly the song on the jukebox stopped and everything started feeling real tense - and everyone was looking at me. Then she asked me, “How can you call yourself an American with hair like that?” I replied with “I don’t recall calling myself an American. I asked for a case of beer to go.” She just looked at me real disgusted, but I got the case of beer. When I walked outside, there was a truck sittin’ there with bumper stickers that said “America, Love It Or Leave It” and “Goat Roper’s Need Love Too.” The

whole incident just struck me as funny and I wrote the song about it. Bob Livingston was up in Red River at the time, and he learned the song from me. The way I later heard the story, Jerry Jeff was playing the Broken Spoke Saloon in Austin one night and he broke a string. While he was fixing it, the crowd was getting restless, so Bob got up and sang it and suddenly everyone settled down and started dancin’ and havin’ a good time, and Jerry Jeff said “I want to record that song.” On his recording, the intro says, “This song is

by Ray Wylie Hubbard” and that’s how I got my middle name.

WR: You have stated that you wouldn’t mind being a hybrid of Guy Clark and John Lee Hooker.

That’s pretty much on target.

RWH: Guy is such a lyricist, very profound. John Lee has a groove that you can hammer nails with and so I approach my guitar playing like that. I love the grit, groove, and tone. I really value lyrics and hope that my lyrics have depth and weight and the taste of writers like Guy (Clark), and Townes (Van Zandt). I take my songwriting seriously - and myself lightly - and that works well for me.

The Direct Buzz - Lucky 13!

As the Direct Buzz moves into our second year, we look back and celebrate our first. What a year it’s been!

Founded by Publisher, Robert Weingartz (also Founder / CEO of our parent company, AirPlay Direct), the Direct Buzz debuted with musical icon Dolly Parton on the cover in September 2009.

Weingartz stated: “Our mission is to entertain, enlighten and inform. We see the Direct Buzz as a ‘Destination’ for anyone interested in general entertainment. Although it will be music oriented, we will be bold in our exploration of pop culture, life issues and commonly shared interests. Most of all, we want

to help and encourage those creative individuals who are striving to succeed in a changing world. We will always be a ‘work in progress,’ because that’s life and, most certainly, it’s life in the field of entertainment. It’s a tough gig, but not an impossible one.”

With Managing Editor Bernard Baur, the Direct Buzz gained a reputation for showcasing legendary talent across the spectrum of musical genres, with features on Zydeco stalwart, Buckwheat Zydeco; Polka King, Jimmy Sturr; Country mainstay, Charlie Daniels; Hip-Hop pioneer, Chuck D.; and the incomparable Roy Orbison. In April

2010, Clif Doyal took over the Direct Buzz, quickly rising to become Editor.

Staying true to our mission, independent artists such as multi-genre talent Johnny Cooper and Blues/Soul chanteuse Janiva Magness have both graced our cover. More star power “covered” by the Direct Buzz has included Jazz guitar virtuosos Larry Carlton and Tak Matsumoto; Country favorite Mark Wills; Christian Rock luminaries Superchick; and Rock guitar wizard Steve Vai. From legends to unknowns, we’ve exposed some of the best music from our AirPlay Direct global artist community – including exclusive previews of new music by former Led Zeppelin Rock God, Robert Plant; John Mel-

lencamp’s new Americana release; and the debut by James McCartney, produced by his father, Sir Paul; Plus, indie artists Shawna Russell, the McClymonts and Anne McCue, among many others.

In our efforts to educate and nurture musical talent, we have provided DIY tips and New Media updates from knowledgeable music business professionals. Our “Behind the Desk” section has spotlighted top music industry leaders. And we have exposed great travel destinations with musical connections in our Lifestyle features.

However, one of our greatest accomplishments has been to provide exposure to artists and the charitable

endeavors they pursue. Country artist Jimmy Wayne discussed “Meet Me Halfway,” his cross-country walk from Nashville to Phoenix that drew attention to the plight of homeless youth and young adults. And we interviewed gold medal-winning Olympian-turnedactress Cathy Rigby about her support for Discovery Arts, an organization who brings the healing power of the arts to children in hospitals.

In the current edition, we feature the amazing Jim Lauderdale, and focus on the growing genre called “Americana.”

It is a glimpse into our forward-looking vision for the Direct Buzz to eventually branch into genre-specific editions across all popular formats.

We are grateful to you, our readers, for welcoming us into your world.

We’ve had many shining moments during the past year and we are happy to have shared them with you. We thank our global artist community for sharing your wonderful talents, and our writers, photographers, videographers, graphic designers and advertisers. Last but not least, we thank Tony Rodono at Aleven Creatives who helps us shepherd our vision into reality every month.

As we said in the beginning…we will always be a “work in progress,” because that’s life and, most certainly, it’s life in the field of entertainment. It’s a tough gig, but not an impossible one.

- The Direct Buzz team

Jim Lauderdale The Coolest Guy in Nashville?

By: Jessica Stiles

AirPlayDirect.com/JimLauderdale

W

earing a pinstripe suit with Tibetan cloud patterns, Jim was all smiles when he hosted the recent Americana Honors and Awards ceremony at Nashville’s historic Ryman Auditorium. Always the best-dressed guy at the party - and also known to have worn Converse All-Stars on the Grand Ole Opry stage - Jim Lauderdale marches to the beat of his own drummer. If you don’t know Jim’s music, you should.

Well, maybe you already do. The title track to George Strait’s Twang - just nominated for CMA’s “Album of the Year” – is a Lauderdale composition, along with its album-mate, “Gotta Get to You.” Other standout songs include “The King of Broken Hearts,” recorded by Lee Ann Womack, and “Hole in My Head,” written with Buddy Miller (and cut by the Dixie Chicks) - to name a few.

What else? He has won 2 Grammys.

He plays Gwyneth Paltrow’s rhythm guitarist in the upcoming feature film Country Strong. He hosts a weekly radio show, “The Jim Lauderdale Show” on WSM AM radio. He is the go-to harmony singer for the likes of both Willie Nelson and Elvis Costello – and he can also be found at the Loveless Barn on the outskirts of Nashville most Wednesday nights, where he hosts the Americana Barn Dance known as “Music City Roots” - opening the show with a song, encouraging new artists, and bantering

Photo by: Scarlati

with fellow WSM disc jockey Eddie Stubbs.

With 19 albums of material under his belt, Jim’s career has staying power and artistic integrity combined. Why isn’t he a household name, you ask? Well, according to a couple of ladies at his packed showcase at the Mercy Lounge during the 2010 Americana Music Festival, he

just “needs to wear tighter pants is all.”

I got to sit down last week with this charming singer-songwriter backstage at the Ford Theater inside the Country Music Hall of Fame and Museum to talk about the songwriting process, his new collaborations with (Grateful Dead) lyricist Robert Hunter, working with bluegrass

legends Dr. Ralph Stanley and Jack Cooke, what it was like getting started in the “biz,” and just what exactly is Americana music anyway... tDB: Do you remember the first time you came to Nashville?

JL: Let’s see. When I got out of college I came for about five months. I was kind of intimidated about my songwriting because I got turned down by a publisher, and I thought I was going to get a publishing deal easily from [our] conversation. I kind of felt like I wasn’t “in.”

I didn’t realize what the mainstream [wanted], what was going on. My idea of country music was Hank Williams and George Jones. In 1979, that’s not what it was. I really liked Nashville. I would hang out at the Station Inn a lot, and Roland White and I did a whole record together, but we couldn’t get a deal for it because I was an unknown. Roland’s one of my heroes. And so that was a great experience to record that with him, but then it was disappointing when nothing happened.

My plan at that time was to just get on the bluegrass circuit but it didn’t work out that way. So, I went to New York and there was a great country scene - oddly enough - going on up there, and there were a lot of places to play. A lot of great pickers were up there and that’s where I met Buddy Miller, who was living up there at the time and we became friends.

I got into a play that Harry Chapin had written the music for; I played banjo and guitar. It was a bluegrass musical called Cotton Patch Gospel, so that helped support me. My goal was to get a record deal and it took a long time. In the meantime I did a publishing deal with a small com-

Photo by: David McClister

pany here called Bluewater Music, and I never planned to do that. But then people started recording stuff, and that kind of has been supporting me through the years. tDB: One of the reasons I wanted to meet up with you here at the Country Music Hall of Fame and Museum is because you have recently been included in the exhibitry.

There are some of your ‘artifacts’ in the Sing Me Back Home exhibit - the contemporary part.

JL: That’s right - they do have some of my artifacts...they’ve got a few pottery shards, and an old clay pipe, and... tDB: Well, tell us what is actually in there - in addition to the ceremonial pipe.

JL: A tape player and some lyrics, and a suit - a Manuel suit - and a Grammy, and an Americana award. tDB: You’re part of the country music tradition, and I notice that you pay a lot of attention to artists that have come before you...

JL: Yes. tDB: And yet somehow you seem able to be yourself.

JL: Well, I think that I’m still finding out who I am - or my voice, or whatever. But, a lot of the people that really influenced me had already passed on, and then some of them are still alive: Ralph Stanley, George Jones, Charlie Louvin, and Earl Scruggs. But then some of them I never got to meet. There’s just been so much great music made and a lot

“It took me so long to get a record deal - and it was something that I had wanted so bad”

of it was commercially successful.

Not by today’s standards, but...there is just something to that music that really got a hold of me. tDB: Recently you have been collaborating with Robert Hunter.

JL: Yes, on Patchwork River, and then we wrote 18 new songs in August, and recorded 11 of them for an upcoming bluegrass record. tDB: I love Patchwork River that’s your most-recent Americana release. Did he write the lyrics and you, the music?

JL: Yes, he wrote all the lyrics and I wrote the music, and occasionally, too, he would have a melodic structure idea that really helped the song a lot. tDB: So did he get you a packet of lyrics tied with a ribbon, or how did that all work?

JL: No, most of Patchwork River we wrote while we were together, and I made several trips to California. But with the bluegrass record, I sent him melodies, and then he wrote these great lyrics. tDB: How do melodies come to you?

JL: They just come. Like sometimes if I’m about to fall asleep, or sometimes, right when I wake up.

Or sometimes just at various times of the day. tDB: And do they stay, or do you record them on something?

JL: I have to record them or else I forget ‘em. And sometimes - unfortunately - like if I’m about to fall asleep - or in the morning - and they come to me - I’ll realize that they might be some of the best things that have ever come through me, but I’ll fall asleep. You know, I’ll be so relaxed - and that’s probably got something to do with it - the state of relaxation. So there’s a lot I haven’t captured, but some I have. tDB: How does Nashville treat you as a home base - do you like it?

JL: Yeah - I like it. It’s a great

Photo by: Scarlati

place to be based out of and there’s always so much going on here. It’s very conducive to writing and recording. And there’s just so many talented people here, it’s inspiring. tDB: I read something on your web site - a quote from you saying

that you loved being able to play on the Opry one weekend and then go do a jam band festival the next weekend and then a bluegrass festival the weekend after that. That’s pretty unusual I think for most artists, to have that kind of versatility.

“I think that I’m still finding out who I am - or my voice, or whatever.”

“There’s just a lot of stuff I want to get out and there’s just not enough time to get it out” JL: Well, to me it’s not...it’s not that much, you know, so I look at it differently. tDB: In what way?

JL: Maybe because I’m not just doing one thing all the time. I enjoy country, traditional country and bluegrass, and just singer-songwriter stuff, country soul, and R&B, and blues. Those are my influences, so I just enjoy doing different configurations on various occasions. tDB: Plus they do share some common roots...

JL: Sure. They’re all tied in. tDB: Speaking of, there’s the Americana Music Association based here in Nashville. You’ve been working with those folks and helping to create a buzz about Americana music. What does ‘Americana’ mean to you?

JL: It’s kind of an umbrella title for music that includes: bluegrass, country, folk, blues, American roots music...But for that matter, though, really it can include British stuff, too, because originally so much of our music came from Ireland, Scotland, and England. You know - the folk music and fiddle tunes came over here and then became old-timey music and bluegrass. And the banjo - really originating in Africa - and then, you know blues...That influenced so many British Rock-and-Rollers like the Beatles and the Stones, and folks like that, that just had such a passion for American music. And then that came back over here, and...that mixture makes Americana. tDB: How did you first meet Dr. Ralph Stanley?

JL: I had seen him as a kid, and

always been a huge fan. I was getting ready to do a country record for RCA called Whisper. And I did a TV show called Ricky Skaggs: Live at the Ryman - that was on the old TNN network, and Ralph and Patty Loveless were guests. I had written a few songs that Patty had done, and she came on and did “Halfway Down” with me. I introduced myself to Ralph and told him I was doing this country record and I wanted to write something for him (and me) to close out the record. And so he agreed to do it...Then he asked me to be on this record he did called Clinch Mountain Country. So the next day I recorded “If I Lose” one of my favorite Stanley Brothers songs. And then, I was visiting MerleFest for the first time and I’d been sitting in with those guys at festivals - I’d just drop by places to see them just so I could sit in with them. And then Ralph’s son (Ralph the second) was ill, so they asked me to fill in for these dates at MerleFest. Then I asked Ralph if he would do a record together with me - so he agreed. So we did that, and it turned out well.

We got a Grammy nomination, and so he agreed to do another one. So we did - and we ended up getting the Grammy (Lost in the Lonesome Pines, Dualtone, 2002).

I put that first record out [with Ralph Stanley] close to my second and final album for RCA - Onward Through it All - and then when I did the other record with Ralph I put it out on the same day as I put out this other record called The Hummingbirds. You know, I just don’t have much sense sometimes as far

as these releases [go]. I just know I want to get ‘em out. It took me so long to get a record deal - and it was something that I had wanted so badly, I guess I feel sometimes that I need to catch up. There’s just a lot of stuff I want to get out and there’s just not enough time to get it out. tDB: We’ll look forward to your new bluegrass record - coming out sometime down the pike – co-written with Robert Hunter. You guys are good together.

JL: I’m real excited about it. I feel like it’s a good bookend to the Patchwork River record. And it’s also different from the Headed for the Hills record (Dualtone, 2004).

That was all acoustic, and Patchwork River is all electric. This kind of adds another piece of the circle. tDB: Great. Do you want to list the personnel for the upcoming record?

JL: Yes. Randy Kohrs produced it and played Dobro. And Clay Hess played guitar; Mike Compton played mandolin; Jay Weaver played bass; Scott Vestal played banjo and Tim Crouch played fiddle. And you know, sometimes with my records I have to kind of do ‘em in different pieces and so I’ll have some different musicians at different times.

With this one, we cut it in one day - I kind of had created this deadline.

I had never done that before and recorded a record so quickly...it was such a different thing.

I’m really in awe of Robert’s ability. Once I started making my own bluegrass records, I’d always wanted to try to write songs that other people might want to cover someday too. I really feel that Robert just outdid himself on this. And so, I’ll look forward to this getting out there.

Jessica Stiles is a Nashville-based writer and singer. Her music is available on iTunes, Amazon and through AirPlay Direct.

Todd Mayo and John Walker Executive Producers, Music City Roots

By: Clif Doyal

T

odd Mayo and John Walker preside as Executive Producers of Nashville’s newest live music attraction: Music City Roots: Live from the Loveless Café. From their enviable position on the outskirts of Nashville, they had at least two very big advantages going for themselves right out of the gate. 1: The name. Next to the Grand Ole Opry and the Opryland Hotel, the Loveless brand is world famous. 2. Proximity to great talent.

Enough said. However, it is what they have built on those strengths that is truly extraordinary. While some live music ventures are struggling to survive and music revenues are down across the board, Music City Roots is flourishing.

The Direct Buzz had the opportunity to sit for an interview with Mayo and Walker recently. We learned that beyond their passion for Music City Roots, they are also powerful advocates and supporters for artists, the music they create, and the future direction of the music business at large.

The Direct Buzz (TDB): How did the concept for Music City Roots come about?

Todd Mayo: John and I both have backgrounds in broadcast media, specifically radio. We also had both left the corporate world and had started our own advertising agencies, and we kicked around ideas to get into con-

Photo by: Scarlati

tent producing. We are both fans of Bluegrass, Roots music, Americana – music of authenticity. We talked about putting together a live musical variety show that featured the full measure of eclectic musical talent that abounds here in Tennessee, and of course, all around the country and all over the world. We both have a strong belief that our number one cultural export is our musical culture, and we didn’t feel that “Music City” was being branded to the full extent that actually exists [here]. There is a tradition going back for many, many years of musical variety shows. Of course, the Grand Ole Opry is chief among them. But there were shows

that preceded the Opry, and other shows that competed with the Opry, and even before that into vaudeville.

There is a lineage and a history of these kinds of shows because there is such great talent here. We are “Music City” and we felt like we wanted to export that musical culture in a way that encompassed traditional media, but also took advantage of new media. “Music City Roots” as a name, as a brand, grew out of that. It just fit.

When we settled on that, it was like, “Of course, it’s Music City Roots.”

We want to go back in the past with not only the way that we present Music City Roots, but also into the past when music was not as pigeon-holed

[as it is now]. So that is why we set out to do [it this way] - to present it in a variety-type show. It’s all what we consider to be music of integrity, and quality. Of course, that is a subjective matter. We feel like we know it when we see it, or when we hear it.

Somebody asked me: “What is Americana?” Well, maybe it’s the street sign at the intersection of “Quality” and “Music.” Is it Blues? Is it Rock ‘n’ Roll? It it Jazz? We don’t get into genres and labels as much.

John Walker: Bottom line is, we want to eradicate, to the best of our ability, those boundaries of genre and categories - and more draw the line at integrity and quality and excellence. And by our definition, rootsAmericana music is any music that grew out of the cultural mix and the cultural “soup” that was birthed as part of our country. And out of that came Bluegrass, American Folk music, Jazz, Gospel and Rock ‘n’ Roll.

It’s all based on the interesting mix of European and African and various influences that merged here in our country and became - like Todd says one of our primary cultural exports of our country. We are always looking for ways to color outside the lines, and not be pigeon-holed into being Country or Bluegrass, or what some people consider to be Americana, or not Americana. If it’s good, we want it.

Todd: We looked at live variety shows like Austin City Limits, ETown in Colorado, or Woodsongs in Kentucky, and Prairie Home Companion in Minnesota and we felt like there was a real niche to present this.

The scene was happening [here]. So many artists choose to live here that are classified as Americana or Bluegrass or Roots for a variety of reasons, but it has not been presented the way that we are presenting it. We don’t just play Nashville artists. We have had artists from over 10 countries and almost every state play at Music City

“There is a lineage and a history of these kinds of shows because there is such great talent here.”

Roots. We want them to walk away from it and feel like they were treated well at every single level, and to provide them with a great experience.

It’s not just a “butts-in-seats” deal.

This a content play. It reaches a lot of folks and we really are principally concerned with forging strategic partnerships to grow the community and to make it an even better promotional vehicle for the artists. What we do is a niche, but when aggregated over the entire world, it’s a giant niche; People appreciate musical authenticity. tDB: How are you approaching the marketing of your show?

Todd: We have traditional media; we have a local radio station as a flagship station. We are filming and streaming every show live in hi-definition on the Internet, and there are plans underway to develop it as a linear television show, potentially on public television. We are going to be syndicating the show thru AirPlay Direct and other outlets to make it available to terrestrial radio, and there are plans to create our own branded 24/7 Music City Roots Internet radio station. We are looking at every single possible way to reach the worldwide community of lovers of good music.

It’s a shotgun type approach to do the right thing and benefit the brands that we are associated with. tDB: How are the artists compensated - and how does the show support itself?

Todd: We give the gate to the artists. It’s a good promotional opportunity and that’s why people do it.

Plus, the chicken is hot, and the beer is cold! We are trying to provide a stage, a worldwide stage for these artists. But in order to compensate the people on the team, we are a spon-

sorship driven business model. We have associated ourselves with several wonderful brands that have deep roots in Middle Tennessee, including Vietti Chili, Honest Abe Log Homes, French’s Shoes and Boots, Ascend Federal Credit Union, and Anchor Trailways and Tours. The Nature Conservancy is our non-profit partner. They are worldwide. Our brands are embedded. On Madison Avenue they call it “branded entertainment,” but in Nashville, what they have been calling it for many years is just “the way you do business.” There is not a stark differentiation between the actual programming content and the commercial - it is part of the show.

We look to find ways to incorporate the brands that allow us to do what we do with the artists and the fans and grow an entire community together at one time. When you come to Music City Roots you will see; it is a wide cross-section of humanity. It’s urban and rural. It’s white collar and blue collar. It’s old and it’s young, and everything in between. We feel like we are entering into a post-demographic age, as far as branding and advertising goes. Where you don’t look so much at “What this does for the 1834 [demo]” - this is about the music business in general. It’s about quality, and people appreciate quality at every stage of life. A grandfather might turn a grandson on to a certain type of music, or a granddaughter might turn the grandfather on to a certain type of music, whatever it is, that’s the way that it’s going. For a couple of marketing guys, we have basically taken everything that we have ever learned in marketing and try to do the exact opposite of that. We feel like that’s what will work for us.

John: What we endeavor to do is provide a global platform for music of integrity, whether or not they are household names. And, then provide a point of discovery and a point of purchase for the artist. We put no blockades between that discovery and going directly to the artist at the show or going to the artist’s website site. We go out of our way to provide bio on the artists and links to their websites so people can become part of their community; grow their fan base and buy their music and their merchandise. We know it’s tough for artists to make a living these days. It’s doesn’t work like it used to. People aren’t marching out to the brick and mortar stores because they heard 30 or 40 songs on the Top-40 that they’ve decided are cool and they are going out to buy it. Now, you discover music that is unique to your own tastes and you have to support the artists buying their stuff and buying their merch. We don’t get in the way of that, because we want them to make a living. We want to grow the entire community.

As one feeds the other, a rising tide raises all ships. The sponsors benefit, the bands benefit, and we benefit because we love what we are doing. It’s a new way. tDB: Tell us about your individual roles in the show.

John: There are a lot of similarities in our skill sets. Todd and I both met in the corporate radio world and we both have that in our background. But where we differ is what makes for the perfect partnership. Todd is a music fan. And he’s passionate about music

as a fan and as a non-musician, and that’s why he’s been so brilliant in booking the shows. Each show is this eclectic, diverse mix of talent. And people may come to see a particular artist, but they walk away as a fan of another artist that they have discovered by coming to this musical buffet that we present every week. I on the other hand, come at it from a production and musician’s background. And so, I’m “looking under the hood” and thinking about from the production standpoint how we can achieve a higher level of excellence from the audio and video and the live production. Putting those two things together [Todd’s talents and mine] work well.

Our skill sets divide in the perfect places where I’ve got this covered, and he’s got that covered, and we are nearly always, miraculously, on the same page.

Todd: I book the show, John does the production end of it, and we both do everything else.

John: Everything else!

Todd: I book the shows, and he totally trusts my judgment and he does the production, because that is his forte - and every other decision is talked about together. tDB: So there is a real synergy?

Todd: Absolutely. tDB: Tell us about the rest of your team.

Todd: There’s Laurie Dashper (Associate Producer-Artist Relations), and her job is to love on the artist, and she does a great job at it. We have so many artists who ask, “Can we come back and play here again next week?”

“We want to go back in the past with not only the way we present Music City Roots, but also into the past when music was not as pigeon-holed.”

That is the way that we want them to feel.

John: We have a group of associates that are part of our inner circle. Craig Havighurst is our journalistic partner and very much the “moral” barometer of the show in so many ways – and we look forward to reading his previews and his post blogs about the show. We look to connect the dots between the history and the legacy with the “new school.” That’s where we are looking to bridge the gap. Niko Papasideris (Associate Producer-New Media) is in charge of all-things-virtual. It is so much of a key to what we do.

While we want to hold on those “old school” traditions and values, and the pioneering attitude that built this city in the first place - and made everyone want to come to “Music City” to pursue their music - now, there’s the Internet, which we can use to interconnect the fans, the artist, and the sponsors. That’s how you win. Niko’s key to that. He’s brilliant. tDB: What is your definition of an artist?

Todd: It reminds me of a quote that Eddie Stubbs attributes to Hank Snow from his early days at the Grand Ole Opry: One night at the Opry, Eddie had announced a group as “artists” and Hank said to him: “Eddie, those weren’t artists - they were an act.” And Eddie said “Forgive me, but what is the difference?” Hank told him: “Everybody who plays this show is an ‘act’ – but not everybody is an artist. Being an artist doesn’t mean that you can’t make money, there are artists who make millions of dollars, but that is not why they are in it. They are in it for all the right reasons.” By that definition, in our minds, anybody who plays Bluegrass music, Americana music, Roots music, whatever you want to call it, they are all artists, and they deserve to be promoted in the best possible light, because they are in it for the right reasons.

John: If you took away the money

“It’s about quality, and people appreciate quality at every stage of life.”

– they would still do it, regardless.

Here’s the bottom line: We all know that the music business model of the last millennium is in shambles. It’s over – it’s already dead. Many have not really accepted that, but we have.

Traditionally this town has been polarized between the “That Ain’t Country Crowd” who were very much in the Traditional sense, and then you had the “New Country Crowd.” But somewhere in the middle was all of this good stuff that had nowhere to live in the old media model. But now, thank God, there’s a new way and there’s the long-tail [of the music business] and everybody has a place and you [the artist] can find your fan base, because people don’t discover new music the way that they used to.

And, we are just trying to be a part of that solution. tDB: What are your feelings about the current state of the music business and how can this model positively impacts it moving forward?

Todd: To say it’s all about the music is cliché. But clichés are clichés for a very good reason. It goes back to a single point. There is a point with all artists [regardless of genre], where everything they do is for the right reasons, but you can’t say that about everybody. So many artists start out for the right reasons, but because of marketing and demographics and the way they need to be packaged to reach a certain audience, everything is washed with a filter - it’s homogenized - for the sake of sales. Everybody loves money in their pocket, but we really see an emerging middle class in all music genres and whether you are lower-middle class, middlemiddle class, or upper-middle class, it is less dependent upon luck and

marketing that it has ever been and I mean traditional marketing. It has more dependent on the talent that you have and your ability to work hard and reach and grow your fan base.

As folks are able to monetize that more directly thru places like AirPlay Direct and what we are working on. These are wonderful times.

Like a Phoenix, things rise from the ashes – and with the economy and the way that everything is going – it has spurred so much creativity from people in this town. There is an undercurrent of change. Most agree that the old system is going down. There’s a whole bunch of folks who are trying to figure it out. No, they are figuring it out, not with all the answers, but just by doing things. That was the impetus for what we have done. We decided to do something to put some positive inertia out there to present this great music and we couldn’t be happier with how things are going.

John: It’s like the “Wild West.” We all know that the solution is out there, generally speaking. We don’t know exactly what it’s going to look like, but we know that it’s there. And to the ones that have the strength and the fortitude to survive and the integrity to try to do it the right way without screwing anyone over along the way, [we will find] what it’s going to look like in the future. We are lucky enough to be alive in a generation where we are the architects of the new way. Thank God! It’s about time!

For more information about Music City Roots, go to: http://www.musiccityroots.com/ Clif Doyal is a Nashville-based artist manager, publicist, and independent record label manager.

H

ey what’s good everybody. Da news …

Well Kanye West has a new girlfriend, Shay the UK Bombshell, you seen her? Ridiculous!!! Although she’s smoking and that’s nice and all, but, I STILL GOT THE HOTTEST GIRLFRIEND … EVER!!! Just goes to show anybody can find love, even a jackass… I didn’t say that the President did!!!

American Idol and nasty man Adam Lambert slapped the hell out of a paparazzo in South Beach a couple weeks ago, then … MOONED THE GUY!!! Sounds like the old Stylistics song “Break Up To Make Up” to me.

How old am I? WOW!!!

Aubrey O’Dell from Making the Band and Danity Kane has her ticket for the “15 Minutes of Fame Cemetery” as she is in production of her new reality television show which will focus on her work in the Vegas burlesque review “Peepshow.” You know what they say… if at first you don’t succeed… get naked!!!

Speaking of naked, Heidi Klum is gonna be nude in a video (YAYYYYY!!!!) along with her husband and baby’s daddy, Seal. BOOO!!!! Seal is my dude and they are great together and are going to star in his new music video “Secret”. I can’t write a joke about em’ cause I like em’ both, but I wrote one about the new American Idol judges.

Ok that’s a bit premature, but Jennifer Lopez and Steven Tyler join Randy Jackson, who I guess now is the Chief

Justice of the judges. You know them, right, one’s a good singer, one’s a good dancer, neither is great at both… you be the judge.

Damn Dr. Dre and Ice Cube, can’t we all just get along? Apparently Dre walked out on Cube in the middle of working on Cube’s new album, “I Am the West,” which dropped a couple days ago. Don’t exactly know what happened but Ice Cube says they’ve been distant ever since Cube left NWA …C’mon Dre … you know Disney won’t let Cube do any movies hangin’ round that foolishness!!!

Finally - happy birthday to Nick Cannon. The host of America’s Got Talent is turning 30 and his wife, Mariah Carey, that’s right HER, is throwing him a two-day, bi-coastal retarded party with a guest list that’ll blind you, AND, it’s affordable! For $2,500 you get a nice gift bag, from which the word “gift” should be removed; for $15,000 you get one “Tweet” and mention in all P.R material. Or if you want to show Nick how much you really care you can ball out for $25,000 and get three tweets, a host sponsor mention and your logo on all collateral, AND a Justin Bieber doll which just came out. And I thought a cake from a grocery store and a party at Chucky Cheese’s was a big deal …

I’m Just Sayin’…

SpankyBrown.net Twitter.com/SpankyBrown Facebook.com/SpankyBrown Ubettagonboutchabizness ....

By: Spanky Brown

FEATURED ARTISTS ARE PAID ADVERTISERS FROM THE AIRPLAY DIRECT COMMUNITY

Tim Montana I really want to drive home the point that all digital downloads of my single “Freedom’s Never Free” from any of my distributors (iTunes, Amazon, etc..) will be donated to a charity sending packages to troops abroad called “Lea’s Prayers and Postage Inc.” I wrote the song about Sgt. Lea Mills who was killed in Iraq in ‘06. His mother since then has started this charity. The song also features Paul Shaffer from The Late Show With David Letterman.

--------------------------------------------------------------------------Listen here: AirPlayDirect.com/TimMontana ---------------------------------------------------------------------------

US32

Glenna Bell

Mick Byrd

US 32, the married duo of Michael and Christy Kline is named for a historic road.

Together, they create a timeless tapestry of silky smooth vocal harmonies and evocative songs. In the process, they have extended the classic Folk tradition into a vital, contemporary art. Tumblin’ Home (Anthony Avenue Records) debuts a major musical force of 13 glorious songs featuring 11 originals and two select covers that tell vivid stories with contributions from co-writers Dillon O’Brian and Monty Byrom.

-------------------------------------------Listen here: AirPlayDirect.com/US32 --------------------------------------------

Glenna’s new album, Perfectly Legal: Songs of Sex, Love and Murder, unfolds as a musical and theatrical journey through a series of stripped-down songs that document the seldom-told stories of a real woman living a real life at the turn of the 21st century. From Glenna’s banjo-infused Bluegrass breakdown, “Big Kev,” featuring members of Hayes Carll’s band, to her classic lament of a lost love— “These Days”—the themes of Perfectly Legal are both contemporary and timeless.

-------------------------------------------Listen here: AirPlayDirect.com/GlennaBell --------------------------------------------

Mick a singer/ songwriter from the small town of Vienna, Missouri, has gained a following based on his superb songwriting, warm vocals and intricate guitar work. Mick calls the music he does “Americana Roots” because he says “That gives me the freedom to do what I enjoy and what I hope the listeners will enjoy.” Serious music listeners are sure to enjoy the depth and imagery of these story songs. From social issues to fun filled songs that make you laugh, folk/rock, country or Mick’s own “Ozark Blues” these songs keep you listening.

-------------------------------------------Listen here: AirPlayDirect.com/MickByrd --------------------------------------------

OCTOBER 2010 FEATURED ARTISTS

John M. Keane

Nick Gill

John has embarked on a musical journey in creating his latest solo album Everything Changed. The album draws from both his life experiences and vast scoring background.

Rich sweeping strings along with emotive piano arrangements accompany the thoughtful lyrics about life and love.

Nick Gill is a 19-year-old PopRock singer/ songwriter from Fairhope, Alabama. His latest five track EP was recorded at Fudge Recording Studio in New Orleans, Louisiana.

Chip Taylor / Carrie Rodriguez Chip Taylor & Carrie Rodriguez are back! The New Bye & Bye features 4 new outstanding songs and the best of their first four albums available for release on October 12th. Chip will be making his long-awaited return to Northern Ireland later this year. Check out the Road Journal for updates. Even when he isn’t performing on stage, Chip has been very busy - last week Chip was in Los Angeles and had the chance to record a couple of new songs with Lucinda Williams.

John’s love and appreciation of many musical genres such as Classical, R&B, Pop and Country make Everything Changed John Keane’s most ambitious project to date.

-------------------------------------------Listen here: AirPlayDirect.com/JohnMKeane --------------------------------------------

Nick recorded the album with producers, Jack Miele (The Molly Ringwalds) and Jacques Delatour.

The album carries emotion far beyond his years. The EP is the 3rd album he has released during his high school years and is a turning point in his career.

-------------------------------------------Listen here: AirPlayDirect.com/NickGill --------------------------------------------

-------------------------------------------Listen here: AirPlayDirect.com/ChipTaylorCar...

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Joe Diffie

Muddy Waters

Bellamy Anthology

Joe Diffie returns to Bluegrass, the music that started it all for the awardwinning Country star. Co-produced

by Diffie and Luke Wooten, the album features a “Who’s Who” of guest performers including The Grascals, Rhonda Vincent, Bradley Walker and Alecia Nugent. Diffie enlisted a band that includes Rob Ickes, Aubrey Haynie, Paul Compton, Bryan Sutton, Mark Fain and Charlie Cushman to back his better-than-ever vocals on this set of songs that are sure to appeal to Diffie’s long-time fans and Bluegrass traditionalists alike.

-------------------------------------------Listen here: AirPlayDirect.com/JoeDiffie --------------------------------------------

Muddy’s presence on a bandstand was riveting and electrifying -- he truly had charisma. His power was undiminished but his depth had increased.

His singing was full of pain and joy, savage sex and tender romance, compassionate soul and bitter violence, and loss and redemption. With that much endowment, it’s easy to overlook his fiery and frightening electric slide guitar playing, and his ability as a bandleader to take a bunch of guys on a stage and inspire a moving spiritual experience for both the band and the audience.

-------------------------------------------Listen here: AirPlayDirect.com/MuddyWaters --------------------------------------------

After 35 years, the Bellamy Brothers are veterans of the Pop and Country music scene, which is why it comes to some as no surprise that they are passing other popular artists on the charts, such as Lady Gaga, AC/DC, and The Rolling Stones. The Bellamy Brothers’ latest album, The Anthology Vol. 1, is a combination of popular hits and a few of their newest releases. The album’s chart success is partially due to their latest record deal between the Bellamy Brothers and Universal Records Switzerland where the album is continuing to climb.

-------------------------------------------Listen here: AirPlayDirect.com/BellemyAntho...

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LET THE FOG ROLL IN. We are Music Fog, and we want to shoot you. Why? Because we’ve seen how video can help musicians build audiences, connect with their fans, book gigs, get noticed, and much more. Give your fans something to share on Facebook and Youtube. Let them get up-close and personal with you in the studio, on the road, or anywhere you can imagine.

We are a mobile production company specializing in custom on-location audio and video recording for electronic press kits, music videos, DVDs, or the web. We do it all from start to finish, delivered with creativity and a personal touch.

Plus, readers of the Direct Buzz get a 10% discount on our services!

Learn more at http://musicfog.com/production-apd .

T

he Direct Buzz offers reviews by a team of professional music critics. Any AirPlay Direct artist or label interested in being considered for a review, should contact us. Choose three songs from your DPK, and we’ll give you our opinion of them. We can’t guarantee a rave review, but we can assure you that it will be honest and constructive.

We will try to honor all requests, but it might take a while. As such, your patience is appreciated.

Manda Mosher

The SteelDrivers

Charlie Musselwhite

City Of Clowns

Reckless

The Well

AirPlayDirect.com/MandaMosher

AirPlayDirect.com/Steeldrivers

AirPlayDirect.com/CharlieMusselwhite

California-based Manda Mosher has been described as Sheryl Crow meets Lucinda Williams. You can also throw in some Tom Petty and Chrissie Hynde for good measure.

And while Mosher wears her influences on her sleeve, she definitely has her own unique vocal style. Her latest EP, City Of Clowns, is classic Americana, pop and rock. The title track hypnotizes with cool guitars and driving bass, and welcomes the listener into a strange world where true feelings stay hidden behind whatever “face” you wish to show. “The Only One” bops along with a jangly, California-tinged acoustic good-time feel that belies the underlying uncertainty of whether she has given her heart to someone who may just give it away.

“Lay Me Down” (Remix) showcases Mosher’s dreamy vocals at her vulnerable best. While not sure what her love interest wants from her, she frankly bares her innermost desires to just be taken. With a very Dylanesque harmonica intro, “One True Love” (Remix) has a sunny fresh-start feel: “I won’t let another day pass me up, look what I’ve found it’s my one true love, I won’t let another day pass me by, without my baby by my side.”

Very cool and highly recommended.

Susan Fischer

This Americana / Bluegrass album is the most fullyrealized sophomore effort that any act could hope to create. Featuring Chris Stapleton (Guitar-Vocals), Tammy Rogers (Fiddle-Vocals), Mike Henderson (Mandolin-Vocals), Richard Bailey (Banjo) and Mike Fleming (Bass-Vocals), it is brimming with passion, powerful lyrics and great musicianship that should appeal to anyone who appreciates real talent regardless of the genre. Their brand of bluegrass – intense, dark, poetic, and inescapably human – is a refreshing reminder of the timeless power of string band music. Standout songs (and there are many) include “The Reckless Side of Me,” which opens with fiddle and banjo establishing the group’s place in the bluegrass genre, before Stapleton’s vocals soulfully lead the way into the place just beyond bluegrass where The SteelDrivers dwell. “Good Corn Liquor” recounts a dark tale of hard times, poverty and a young man’s memories of a father lost too young. “Ghosts Of Mississippi” is a whisky-fueled dream that brings the desperate soul face-toface with a guitar playing demon that haunts him – and ultimately overtakes him in the waking hours. If you think Bluegrass is relegated to the past, think again. This is as fresh and new as it gets.

Paul Clifford

The Well is the first full-band recording in Musselwhite’s long career for which he wrote or cowrote every track on the album, and it is the most personal and the emotionally deepest group of songs he has ever created. “Dig The Pain” recalls his drinking days, while “The Well” tells of his recovery. In “Cook County Blues,” he wryly remembers his short stint behind bars.

“Sad And Beautiful World,” a duet with Charlie’s close friend, Mavis Staples, is his response to the tragic murder of his 93-year-old mother in her own home (and the house Charlie grew up in) during a burglary.

Each track on The Well is a chapter from his life. Recorded at Los Angeles’ legendary Sunset Sound with guitarist Dave Gonzales (Paladins), bassist John Bazz (The Blasters) and drummer Stephen Hodges (Mavis Staples), the CD was produced

by Chris Goldsmith (Ruthie Foster, Blind Boys of Alabama). The revealing, autobiographical songs recall specific events and places in Musselwhite’s amazingly colorful life. His conversational vocals and masterful harmonica work are perfectly matched with the stories he tells and the great musicianship behind him. Susan Fischer

Quick Tips On ‘Making It’ It has been said “The journey is greater than the destination.” And that’s the reason I love creating music - for the journey. I’m also a big believer in the term “DIY” which has been a theme throughout my creative life. So when I heard about an opportunity to write an article about “Do it yourself,” I jumped at the chance.

I have been asked many times how I “made it” as a composer and it’s always been a tough question to answer because there is no “One Way” to success. Everyone’s path to success is unique and different. One thing I’m certain of - I could have not done it without the help of others.

As artists and musicians we have the unique ability to create music on our own. I’ve always been a self-starter and a self-proclaimed results junky. I guess it was no accident that I ended up in the hot seat (dramatic television series) writing large volumes of music on a weekly basis! After years of experience I have learned how to successfully create music on deadline.

Which brings me to the point of this article: How does one go about becoming successful with your own mu-

By John M. Keane

sic? I’d like to share some of the ideas that have worked for me: TRUST YOUR INSTINCTS Technology has certainly created a lot of options, which is a good thing in most circumstances, but options can also be a dangerous thing. I heard a great phrase once that “Options are the enemy of commitment.” You have to know when it’s right and move on.

I like to call it musical instinct. Like anything else the more you do it the better you get. ……hopefully.

BE CURIOUS Curiosity has served me well over the years. Many times I have gone past a good idea, and then returned to it.

Other times that drive to find something better or new has yielded great results. Keep experimenting and asking the question “What If I tried so and so…?” and that applies to all aspects of the process - composition, arrangement, parts, performance and recording.

BE DEDICATED As much fun as making music can be, it also requires a lot of hard work. I believe everything you write is connect-

ed. It might take writing ten mediocre songs to get to one great song. But if you hadn’t written those first ten you definitely would not have come up with that one magic song or track. Be dedicated to the process of writing on a regular basis. I always look forward to being inspired to write music, but most times it is a luxury I cannot afford. Sometimes just starting the process is all it takes to get rolling. Momentum is a good thing!

KNOW YOUR CRAFT As musicians, many of us know what it takes to develop your skills on an instrument. Learn all you can about the tools you choose to create music. It will increase your creative flow knowing how to get around and get the most out of whatever software you’re working with. Always continue to hone your production skills and sounds. It’s not what you do, but the way you do it!

TRY AND DEVELOP YOUR OWN SOUND When working with patches or sounds sources inside the box don’t always default to the presets. Sometimes putting in a little effort to “tweak” a

sound can go a long way. Try creating your own sounds. Look for what I like to call “found sounds.” Things we hear everyday in our environment can be potentially interesting sounds inside music. This is especially true when it comes to rhythm. Sampling sounds has never been easier. Many of the sounds I use to create the underscore for CSI are found sounds that I sampled or created from computer generated sources. I am still trying to figure out how to turn the sound of a leaf blower into anything useful….

WORK WITH OTHER HUMANS WHEN POSSIBLE I don’t subscribe to the notion that somehow technology has replaced the need for knowledge or experience.

We do live in a “DIY” world, but I believe that can only go so far. There are so many great players/singers and creative engineers out there that have dedicated their lives to their craft. Try and find people to work with that can elevate or add to what you are trying to achieve. Sometimes another set of ears can create a lot of possibilities and can add to the quality of your work.

STAY OPTIMISTIC AND BELIEVE IN POSSIBILITIES! I know one thing to be absolutely true if you don’t do anything: Nothing will happen. So start by creating something you believe in. Chances are you’ll find someone that believes in what you are doing too! Best of luck in all of your musical endeavors!

John M. Keane is an award-winning Emmy nominated composer for the worldwide hit series, CSI.

By: Mike Hagler, Jr.

Apple’s Ping

A

pple recently introduced their music social experience, Ping. Have you created your profile and played around on it yet? Though we discussed it in brief during last month’s issue, I thought I’d go a little more in depth to it now that some features have recently been unlocked.

Upon first checking out Ping, it seems a little confusing. It definitely is not like other social networks you may be familiar with. While other social networks let you interact, post status updates, and make comments, we don’t have some of these privileges with Ping. Artists have the ability to post status updates - though some look like they just come from a twitter feed. As a consumer you can make comments, post these to your profile and “like” it. Though you can “like” something on Ping, there still is no Facebook integration that was originally planned for Ping.

No outside integration with Facebook or twitter seems to make Ping a little useless as it seems I am sending a message out to nobody. I have a lot of very close friends on Facebook that may be interested in my musical tastes, but certainly not enough to join me on a completely different network. Not many of my friends are even on twitter! Though, at least with twitter I can have those updates post automatically to my Facebook feed. So, in Ping, I shout… but no one is listening.

Some of the new updates recently to Ping have been nice. You may notice that now when you have a song

selected, you can see a tiny “Ping” button in the field. With this, I can “like” or post this to my profile. I can even visit the artist’s profile (if they have one) and check out other tracks for sale on iTunes. Again, we have the problem of none of this information being spread out across my networks for anyone to see.

What is your experience with Ping?

Are you calling up iTunes to let them allow you to set up a profile for your artist? Perhaps Ping will be the new social network that an artist’s Manager will be yelling at the New Media department about (“Why don’t we have more followers on Ping!”).

I don’t see that as being that likely, though you never know. On a recent Billboard.biz bulleting published on September 28, 2010, there was an article and chart on the current correlation between Ping followers and digital sales. Lady Gaga led the pack at the top of the chart on both axes.

Interestingly enough, Kings of Leon were above the 600K follower mark, but below 100K on the “Most Recent Digital Album Sales” axis. Katy Perry was at around the same point on the “Sales” axis as Coldplay, but Coldplay was near 800K followers and Katy was under 300K. Perhaps Katy Perry’s audience prefers to buy her music rather than care about following her on this network. Maybe Kings of Leon fans would rather buy a physical album of theirs; after all, it did go platinum!

Bottom line, it is way too early to really determine what these numbers could possibly mean in terms of an act’s popularity or selling power.

Mike Farris and Downtown Presbyterian Church

Helping the Homeless Nashville is rebounding from the recent 1,000 year flood, but many of its residents are still in need of help - and many are homeless. Recognizing that need, Gospel and soul-singing sensation Mike Farris recently assembled a stellar cast of musicians and backing vocalists at Nashville’s historic Downtown Presbyterian Church to record The Night The Cumberland Came Alive, a 6-song EP whose partial sales will benefit the church’s ministry to the homeless in Music City.

The project was recorded just weeks after the flood, as the people of middle Tennessee regained their civic pride and rallied to help their neighbors and rebuild. The Night The Cumberland Came Alive features an all-star group dubbed ‘The Cumberland Saints.”

They include, Sam Bush, Kenny Vaughan (Marty Stuart), Ketch Secor and Gill Landry from Old Crow Medicine Show, Byron House (Robert Plant), as well as Ann, Regina and Alfreda McCrary (The McCrary Sisters), Derrek Phillips and Eric Holt from Farris’ own Roseland Rhythm Revue.

“Stylistically, pre-war American music has long been a passion of mine,” Farris says of the project. “Be-

fore the flood, we’d been searching for songs that would evoke the struggle and the victory of the working class, a sound rising up out of flesh and bone, of spit and spirit. But then, as a city, we were hit square in the gut by this unbelievable flood. And that sound meshed with the spirit of resurrection we saw rise up all over this area. When we gathered in that historic church to lay it all down, what happened was

By: Clif Doyal

beyond our imaginations.”

The title track’s lyrics deal directly with the flood, and Farris along with Ketch Secor penned “Dear Lazarus” just days before the recording. According to Farris, “Playing these songs— sight unseen, without so much as a lead sheet—and with such a dream team of musicians was the thrill of a lifetime. You can hear the passion.

You can feel the love in the room.”

“When we gathered in that historic church to lay it all down, what happened was beyond our imaginations.”

The Downtown Presbyterian Church has a long and significant place in Nashville history. Originally the First Presbyterian Church, the first structure was erected on the site in 1816. After the Battle of New Orleans, the State of Tennessee presented General Andrew Jackson with a ceremonial sword on the front steps of the church.

A fire destroyed it in 1832, and it was subsequently rebuilt in that year, on the same site, where it hosted the Inauguration of James K. Polk as Governor of Tennessee. It burned down for a second time in 1848. The present edifice was erected in 1851, and was designed

by William Strickland, a nationally prominent architect who had come to Nashville to build the Tennessee State Capitol building. Later on, the church was one of several buildings seized by the United States government and used as a hospital during the Union occupation of the city during the Civil War. It was designated Hospital No. 8 and housed 206 beds. During the great floods of 1927 and 1937 flood victims were sheltered in the church. Soldiers on leave in Nashville during World War II, slept in the church by the

Photo by: Tasha French

thousands. Today, it is one of the few surviving examples of Egyptian Revival architecture in the entire country.

Egyptian columns and a winged sun disk welcome visitors at the entrance.

In the large sanctuary, where Farris and his group recorded, the Egyptian decorative theme is continued in the columns, wall paintings, woodwork and stained glass windows.

Standing strong as a symbol of endurance and sanctuary to those in need, the Downtown Presbyterian Church ministers to the homeless and

urban poor through offerings of food, prayer, and assistance with prescription medicine and State ID Cards. It also supports a number of local charities and outreach groups ministering to immigrants, people living in impoverished circumstances, children who are wards of the state and women leaving lifestyles of degradation.

Farris sums up his feelings about the cause that is dear to his heart: “I’m thrilled to release The Night The Cumberland Came Alive to help this community get back on its feet.”

To help, please contact: The Downtown Presbyterian Church 154 5th Ave North Nashville, TN 37219 dpchurch.com 615-254-7584

Photo by: Tasha French

Contact: Angela Shawell E-Mail: angelashawell@ dpchurch.com

Music City Roots: Live from the Loveless Café Special AMA Edition – September 8, 2010 Music City Roots’ mission statement is: “music of integrity, rooted deeply in the culture of Tennessee, and branching out to the world.” With this show marking the opening of the 2010 Americana Music Festival and Conference, they delivered on that motto in spades. Held in the Loveless Barn by the world-famous Loveless Café, and broadcast live each week on WSM 650-AM, and globally via their website at www.wsmonline.com, Music City Roots captures the intimacy and feel of the early Opry. Hosted by Jim Lauderdale, and joined by longtime Opry announcer, Eddie Stubbs, the concert highlighted some the top and rising artists of the genre, including Chuck Mead, Manda Mosher, duo Madison Violet, Corb Lund and the SteelDrivers.

Lauderdale, a true impresario, opened the show with a familiar lyric, “cruel wind and driving rain,” from a new song which he explained that he had co-written with longtime Grateful Dead lyricist, Robert Hunter. Next up, music journalist Craig Havighurst interviewed Chuck Mead (formerly of BR549) in the “Honest Abe Front Porch” segment, providing an interesting counterpoint of one-on-one interviews with the artists sprinkled between performances throughout the night. Mead and his Grassy Knoll Boys took the stage with a rollicking set of Country and Rockabilly including a highlight from his old band, “No Train To Memphis,” and a funny story about a big tipper from his house band days at Tootsie’s Orchid Lounge.

Stubbs introduced Nashville Mayor, Karl Dean, who spoke about the im-

By: Clif Doyal

Chuck Meade. Photo by: Scarlati

Manda Mosher. Photo by: Patti Doyal

portance of live music and his efforts to re-brand Music City thru his Nashville Music Council. “We need better music education programs for our schools and more live music venues,” he stated. “We want to encourage more songwriters and creative talents to move here.”

L.A. Americana/Rock songstress Manda Mosher took the stage for her well-received Nashville debut, which was followed by new duo, Madison Violet, who entertained with their cross-breed of bluegrass and indie Rock.

Canadian, Corb Lund, performed several well-received songs, including “Devil’s Best Dress.” He also referenced the war in Afghanistan in “Horse Soldier, Horse Soldier”: “Today I ride with special forces on those wily Afghan horses,” referring to the way some American special-ops members cross mountainous terrain in search of the Taliban. Lund’s knack for storytelling was evident and validated his current wave of accolades: six 2010 Canadian Country Music Association nominations, including “Album of the Year” and “Male Artist of the Year,” and an AMA nomination for “New and Emerging Artist.”

Seemingly saving the best for last, the SteelDrivers stole the show. Riding high on their new Rounder Records’ release, Reckless, the group wowed with passionate vocals from new lead singer Gary Nichols. Together with fiddle-master Tammy Rogers, and multi-instrumentalist extraordinaire Mike Henderson, banjo man Richard Bailey, and bassist Mike Fleming, they set the stage alight with “The Reckless Side of Me,” “Good Corn Liquor,” and “Ghosts of Mississippi,” winning the first standing ovation of the night.

The show ended with an all-handson-deck jam session, a fitting close to a great sampler of the best of what Americana music has to offer - and what Music City Roots is all about.

Corb Lund. Photo by: Scarlati

SteelDrivers. Photo by: Patti Doyal

Americana: State of the Union Can This Format Save the Music Industry?

The mood was very optimistic at this year’s Americana Music Festival and Conference in Nashville. And it should have been. The format is flush with new album offerings in the past year from major artists including John Mellencamp and Robert Plant, who first made their mark in the Rock world; Mary Chapin Carpenter and Rosanne Cash, who both initially rose to fame as Country starlets; Rock ‘n’ Roll stalwarts Tom Petty and John Fogerty; and landmark releases from iconic Country “Outlaws” Merle Haggard and Willie Nelson. And while the genre broadens to offer a home to established artists like Sixties soul singer, Mavis Staples; the Queen of Rockabilly, Wanda Jackson, and the eternal rabblerouser, “The Killer” Jerry Lee Lewis (all sporting new releases as well) – it is very important to note that the Americana genre is also the breaking ground for new artists, including the Avett Brothers, Ryan Bingham and others.

“I believe that this community of artists is the best chance that we have to turn things around and reverse the downward spiral of the music business,” stated Jed Hilly, Executive Director of the Americana Music Association (AMA) in a recent “Behind the Desk” interview with the Direct Buzz (August 2010 edition). The success of Plant’s new Buddy Miller-produced Band of Joy album is indeed strong validation of Hilly’s words. Currently, the album is sitting on the top of the Americana Airplay Charts (9/27). It debuted at #2 on the Billboard “Rock Albums” chart (10/2), and was given a “Buy These Now” album pick in Rolling Stone (9/30). Americana has arrived, and her arms are wide open to embrace a broad swath of seemingly disparate elements from across the musical landscape.

Just a quick look at this year’s AMA

By: Clif Doyal

Top left: Jim Lauderdale hosting the Americana Music Awards. Bottom left: Rosanne Cash performing with John Leventhal. Top right: Robert Plant performing. Photos by: Erika Goldring. Below: Robert Plant - Band of Joy video.

Robert Plant

Video courtesy of Rounder Records

opening night concerts shows the diversity on display: At Music City Roots: Live From the Loveless Café, the omnipresent Jim Lauderdale performed to a packed house and hosted a solid gathering of Americana artists including former BR549 member, Chuck Mead; rising Canadian singer/songwriter, Corb Lund; force of nature band, the SteelDrivers,

and other performers. Within a few scant minutes after that show ended (and possibly by teleporting himself) Lauderdale was onstage at the Cannery Ballroom in downtown Nashville performing in an all-star tribute to the Rolling Stones’ classic album, Exile on Mainstreet. He joined a cast of dozens, including former Georgia Satellites frontman Dan Baird,

Mike Farris, Paul Thorn, Power Station front man Michael Des Barres, and two legendary musicians, sax man Bobby Keys and steel guitarist Al Perkins, both original sessions players who performed on Exile on Main Street. The show lasted for over two hours and was filled with passionate and powerful performances by artists who were influenced by the seminal album. Other top draws that night were storied songwriter, Guy Clark, who held court at the Station Inn, and Hayes Carll, who showcased a highly anticipated set at the Basement.

AMA’s opening night did indeed set the tone - and the benchmark - for the rest of the festival.

“I felt really good about this year’s event,” Hilly said post-festival. “I feel like our community really came together. Moving [the conference] to the downtown Sheraton was really positive for us. To see artists like Mary Chapin Carpenter, Rosanne Cash, and Don Was walking thru the hotel lobby was extraordinary. But the cool thing was they were mixed in with artists who were there to learn. I had two artists that came to me and said that it was a life changing event for them – including a couple who sent me a note afterwards saying that they were moving to Nashville because of the sense of ‘belonging’ that they felt at our event. At the end of the day, that was the most important message that I came away with. That is our job - to make a difference. Attendance was up 16% at the conference. The nighttime shows were up as well. The owner of the Mercy / Cannery venue told me [afterward] that it might have been his biggest week ever. The Basement folks said there were more people on opening night than they had ever had on a single night. The Station Inn sold out every night. We did quite well.”

At the daily conference, Americana industry movers and shakers from all facets of the industry converged with artists and labels at panels and seminars which examined a wide variety of areas, including charitable organizations, art-

Top left: John Mellencamp performing. Top right: Lifetime Achievement Award Honoree Wanda Jackson & Jack White. Above: Emmylou Harris performing. Photos by: Erika Goldring. Below: Sarah Jarosz - “Edge Of A Dream” video.

Video courtesy of Music Fog

ist management and booking, among dozens of other subjects critical to advancing the artists through the new and constantly evolving realities of today’s music business.

Our Direct Buzz founder and publisher, Robert Weingartz (also CEO of our parent company, AirPlay Direct), was featured on a panel, “Digital Delivery to Radio; The Future is Here,” which was moderated by Brad Paul, Senior V.P. of National Promotion at Rounder Records.

It included participants from all sides of the B2B digital delivery equation, including Americana/AAA recording artist, Anne McCue; Abby Montgomery GM and managing partner of the radio promotions companies Airplay Specialists and RadioMavens.com, and radio programmer and GM / PD of WGCS, Jason Samuel. The lively Q&A that followed the presentation was a good indicator of the mood regarding the inevitable switch underway in the Americana radio world from physical CDs to the digital delivery of music. While there were a few steadfast holdouts to the change, most in the room agreed that it is a reality, and in order to remain competitive, the genre must adapt and embrace the change.

The centerpiece of the AMA Music Festival and Conference was their annual Americana Honors and Awards ceremony. Hosted by Lauderdale (see what I mean about the omnipresent part?) with Buddy Miller’s “All-Star House Band” at the historic Ryman Auditorium, the show proved to be the AMA’s most spectacular to date. Opening with a rocking version of the Rolling Stones’ classic, “Tumbling Dice,” the awardsshow-cum-concert featured many highlights including standout performances

by Cash, Mellencamp, Emmylou Harris, Lucinda Williams, Wanda Jackson (playing a new Jack White-produced song), Ray Wylie Hubbard, Rodney Crowell and the Carolina Chocolate Drops, who received a standing ovation.

Trophies were handed out in the top categories to Rosanne Cash (Album of

Top left: Carolina Chocolate Drops performing. Photo by: Ash Newell. Bottom left: AMA’s Jed Hilly, Danna Strong and the Avett Brothers. Top right: Avett Brothers performing. Photos by: Erika Goldring. Below: Rodney Crowell video and Ryan Bingham, “The Making of Junky Star” video.

Rodney Crowell

Video courtesy of Music Fog

Ryan Bingham

Video courtesy of Lost Highway Records

the Year for The List); Ryan Bingham (Artist of the Year); Buddy Miller (Instrumentalist of the Year); Hayes Carll (New/Emerging Artist); the Avett Brothers (Duo / Group of the Year) and Ryan Bingham and T Bone Burnett for “The Weary Kind” (Song of the Year – and Academy Award-winning highlight of the Crazy Heart movie soundtrack).

Americana Lifetime Achievement Award honorees were Wanda Jackson (Performance), John Mellencamp (Songwriter), Luke Lewis (Executive) Greg Leisz (Instrumentalist) and Brian Ahern (Producer/Engineer).

The show closed with an unannounced (but widely suspected) half-hour show

by Plant and his Band of Joy, which includes Patty Griffin, Miller, Darrell Scott, Byron House and Marco Giovino.

Much to the delight of the crowd, they performed a selection of songs from Band of Joy, which hit the streets within days of the awards show. It was the knockout capper to a great night of music and accolades.

The last night of the festival was marked by buzz-worthy performances

by Anne McCue and others at Douglas Corner; Mike Farris and Todd Snider at the Cannery, and the “Swamp Fox” Tony Joe White at the Mercy Lounge.

After four 20+ hour days, this author was worn out - and happy.

We close this story with comments from Hilly, who together with his AMA team and esteemed board members who - long after the last note of the festival has faded - are charged to cheerlead this genre on a daily basis: “From where I sit, I have a couple of roles: One, a fiduciary role. Make no illusions - being a non-profit during the greatest economic downturn in our lifetime - we are still down in sponsor revenues, because labels just don’t have the money. But, we offset that this year with ticket sales to our concerts and awards show. Opening it up to the public was a good move. We need the fans and the business community [in order] to survive. We need to fortify our survival - but we are not facing

Top: Don Was, John Leventhal, Jim Lauderdale, Buddy Miller. Above: Robert Plant and Emmylou Harris. Photos by Ash Newell. Below: Hayes Carll, “Wild As A Turkey” video.

Hayes Carll

Video courtesy of Music Fog

the deficits that we were last year, or the year before. Two: to grow the format. In the bigger picture of Americana as a musical category, there is a massive rumbling on the landscape. The Avett Bros and other new artists are bringing roots music to a new generation. Our community, like no other, is cross-generational.

I really see it. The Avett’s appreciate

Robert Plant and Robert Plant appreciates the Carolina Chocolate Drops. It’s not sex, drugs and rock and roll. It’s different - and that is inspiring to me.”

Is Americana the salvation of the music industry? That remains to be seen.

But it certainly is providing some great music and a bright spot for artistic integrity – and that is a good thing.

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Promoting the World of Country Music Around the Globe

Aussie Artists Welcomed at Nashville’s Americana Festival and Conference The 2010 Americana Music Festival and Conference welcomed its first-ever lineup of Australian artists this year, a move which garnered positive reviews from both fans and industry attendees alike.

The AMA conference, held in mid-September, featured a number of events specifically geared towards spotlighting Aussie superstars Troy Cassar-Daley, Tommy Emmanuel and Sara Storer, as well as up-and-coming stars and winners of the 2010 Telstra Road to Tamworth contest, Luke Webb and Tenielle Musulin. The two young singer-songwriters are the first Australian acts to come to AMA week as part of a newly created “musical ambassador” exchange program between the Americana Music Association and Australia’s Telstra Road To Tamworth competition.

“The exchange of talent between Australia and America is an important step in bringing this music to an even more diverse spectrum of listeners,” says AMA Executive Director Jed Hilly.

“The Aussies were very well-received at our conference and showcases last week, and we’re looking forward to a long tradition of exchanging music and ideas with our friends Down Under. This year was a great success.”

Canadian Country Music Awards Draws Record Audience Numbers The 2010 Canadian Country Music Awards, held on September 12 in Edmonton, AB, and broadcast live on CBC Television and CMT in Canada, once again drew record audience numbers.

This year's broadcast peaked at 1,112,000 viewers and averaged 789,000 viewers for the evening on CBC alone, which is up nearly 50,000 viewers over last year.

“In a day and age where award shows are experiencing decreases, we've once again been able to prove that there's a tangible appetite for great artists and riveting, live television,” said Chair of the CCMA Awards Television Committee, Jim Cressman. “We owe a lot of credit to the entire Corkscrew Media production team for producing a seamless show.”

Last year’s move to a Sunday night broadcast and this year’s performance heavy, all-Canadian format have certainly proved successful. This year’s CCMA Awards Show featured a total of 18 performances, the most ever in its 29 year history.

The week’s worth of Aussie activities, sponsored by Sounds Australia, kicked off with an intimate evening of performances at Nashville’s legendary Bluebird Café. 8 Ball Aitken, Greg Arnold, Cassar-Daley, Storer, and Musulin and Webb (performing as a duo) treated the attentive crowd to more than two hours of stripped-down Australian roots music.

The big story of the night belonged to Gord Bamford, who took home trophies for Album of the Year, Video of the Year and Male Artist of the Year. Johnny Reid took home Single of the Year and the Fans Choice Award. Vancouver based female duo, One More Girl, received the CBC Rising Star Award, while Manitoba’s Doc Walker took home Group or Duo of the Year Award for the fourth consecutive year. Ontario-turnedNashville resident, Victoria Banks, won Female Artist of the Year.

Australia’s music scene was the focus of the “What’s Up Down Under?” panel, as a host of industry experts discussed the current state of Americana music and its similarities to the Country music genre in Australia. Panelists included artist Corb Lund, Tommy Emmanuel manager, Gina Mendello, Grammy-nominated producer Mark Moffatt, (continued pg. 3)

Edmonton’s Country Music Week featured dozens of activities and educational panels leading up to the Awards, including showcases, seminars, industry events, musical performances and a Tribute & Induction Concert to celebrate this year’s 10 inductees into the Canadian Country Music Hall of Honour. Visit CCMA.org to learn more.

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Keith Urban: “This music is global...”

After receiving the Jim Reeves International Award at the 4th annual ACM Honors on Sept. 20, Keith Urban delivered a poignant speech from the stage of the famed Ryman Auditorium that directly acknowledged the universal appeal of Country music.

“This music is global and influences people in little places and towns we can't even pronounce,” Urban said. “It crosses all language barriers because we speak and write and sing about the human condition. That’s why this transcends the boundaries.”

Loretta Lynn Celebrates 50 Years in Country Music Country music icon Loretta Lynn was recently honored by industry, friends and family at a special invitation-only 50 th anniversary celebration, held just outside Nashville at Lynn’s Hurricane Mills ranch.

The superstar also expressed appreciation at the increasing numbers of Country artists touring in foreign markets, counting Brooks & Dunn, Dierks Bentley, Tim McGraw, Miranda Lambert, Sugarland and Taylor Swift among those that had recently traveled overseas to play shows.

The Academy of Country Music, Country Radio Broadcasters and BMI each made presentations at the Sept. 24 event. Billed as “A Tribute to an American Icon,” the celebration honored Lynn’s 50 years in the Country music industry. Ronnie McDowell presented Lynn with a hand-painted portrait of the legendary performer, and Australia native and noted Nashville arranger and composer Bill Walker gave Lynn an arrangement of “Coal Miner’s Daughter,” originally penned for the television special, “Loretta Lynn on Broadway.”

“Country has a long, rich tradition of touring internationally,” Urban noted. “Everybody’s starting to get out and tour around again... It’s been great recently to see a resurgence in that.”

The evening included a catered reception, media Q&A session and the award ceremony, hosted by John Carter Cash. A performance by Lynn’s sister, Crystal Gayle, was held following the event.

BCM Award Nominees Announced Nominees for the 2010 British Country Music Awards (Oct. 10 in Surrey) are as follows: Entertainer of the Year: Tim McKay, Darren Busby, Cross Country, Henry Smith Band, Swing Commanders Male Vocalist of the Year: Chris Raddings, Darren Busby, Tim McKay, Stubby, John Taylor Female Vocalist of the Year: Becky Hayley, Rosie Horne, JoAnn Hayley, Jackie Storrar, Donna Wylde International Touring Act of the Year: Brad Paisley, Martina McBride, The Eagles, Toby Keith, Hal Ketchum This year’s British Country Music Hall of Fame inductees are Mike Storey and Albert Lee.

World-Renowned Honkytonk The STAGE to Open Location in Austin Downtown Nashville’s The STAGE on Broadway has announced plans to open a new location of the legendary honkytonk in Austin, Texas.

“We hope to bring a little bit of Nashville to the vibrant Austin music scene, while opening up more opportunities for Austin’s up and coming new artists to have a place to showcase their talent,” said co-owner Ruble Sanderson.

“Austin has an eclectic music scene, and we couldn’t be more excited at the prospect of being a part of it.”

The Nashville location serves as one of the host venues each year for the Global Events showcases during the CMA Music Festival. Austin’s The STAGE on Sixth is located at 508 E. 6th Street, Austin, TX 78701.

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Aussie Artists Welcomed... (cont) (cont from pg. 1) Sounds Australia executive and Bushwackers founder Dobe Newton and A&R pro for Australia’s Mushroom Music Publishing, Bill Page.

AristoMedia’s Jeff Walker was on hand to moderate the session.

International Calendar (Oct - Dec) Sept. 24 - Oct. 3 - Mildura Country Music Festival Mildura, Australia Sept. 27 - Oct. 3 - World of Bluegrass - Nashville, TN

Downtown venue and honkytonk landmark, The Second Fiddle, hosted an Aussie luncheon for Americana conference attendees. In addition to Cassar-Daley, Storer, Musulin and Webb, Tommy Emmanuel wowed the packed house with his world-class acoustic guitar skills.

Following the Americana Honors and Awards ceremony Thursday night, Emmanuel performed a showcase set to another enthusiastic audience at The Rutledge.

Oct. 1 - Official launch of Caribbean Country Music Association - St. Vincent & The Grenadines

Storer’s showcase took place Friday night at Nashville’s revered bluegrass venue, The Station Inn, and Cassar-Daley impressed a packed crowd on Saturday night at The Rutledge, including CMT’s Craig Shelburne, who listed the performance on CMT.com as one of his “Ten Favorite Americana Music Festival Moments.”

Oct. 30-31 - Country Music Messe - Nurnberg, Germany

“One of my Australian friends says that Troy Cassar-Daley may be the top Country star [in Australia] right now, and I can see why,” wrote Shelburne. “His 45-minute set sounded like he drew from a Greatest Hits collection, because every song struck me as a potential single in the U.S. His stories were brief and engaging, but his original songs, which are rooted in classic Country, stuck with me all night.”

Sounds Australia Americana Manager Dobe Newton summed up the week’s events this way. “Sounds Australia's first 'official' involvement in the AMA conference was everything we'd hoped for. Our showcase artists got a great reception and made lots of new friends, as did the Telstra Road To Tamworth winners and the other Aussie artists who appeared at our special shows at The Bluebird Café and The Second Fiddle. We can’t wait to get back next year!”

For more information on the Americana Music Association, visit www.AmericanaMusic.org.

Oct. 1-2 - Deniliquin Ute Muster - Deniliquin, NSW, Australia Oct. 2 - Australian Independent Country Music Awards - Mildura, Australia Oct. 2 - Country Night Grindelwald - Grindelwald, Switzerland Oct. 10 - British Country Music Awards - Surrey, UK Oct. 17 - Country Gold Festival - Kumamoto, Japan

Nov. 8 - AristoMedia’s Emerging Artists (at The Stage on Broadway) - Nashville, TN Nov. 8 - SESAC Awards - Nashville, TN Nov. 9 - BMI Awards - Nashville, TN Nov. 10 - CMA Awards - Nashville, TN

The Aristo International Report is a quarterly newsletter published online by The AristoMedia Group, P.O. Box 22765 Nashville, TN, 37202.

Publisher: Jeff Walker | Editor: Ryan Moore Please submit your international Country music news items for consideration to: global@aristomedia.com

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๏ Lady Antebellum made their first trip ever to the UK earlier this summer, performing to a sold-out house at Shepherd’s Bush Empire on Aug. 11. The group’s smash single, “Need You Now,” went No. 1 in Mexico, New Zealand, Switzerland and Brazil, as well as Top Five in more than 20 other countries. ๏ HighwayFM.com will present the 2nd annual French Highway Awards on Nov. 17 in Paris, France. The site is currently polling its global audience for the “100 Greatest American Highway Songs from 2000-2010.” ๏ After three successful years in Thredbo, officials have announced that popular Australian festival, CMC Rocks the Snowys, is moving to Hunter Valley, New South Wales, in 2011. Going forward, the festival will be called CMC Rocks the Hunter. ๏ In July, The Country Vibe with Chuck and Becca went international when the show was picked up in the UK

by The Showcase Channel (Sky 201 & Freesat 403) ๏ Australia’s Contemporary Country Music Coalition recently presented charity organization Support Act Limited (SAL) with a check for $35,000. SAL provides assistance to members of the Australian music industry who are in need due to illness or hardship. Pictured l to r: CCMC members Jim White, Rob Potts, Trevor Smith, Meryl Gross and Gill Robert. ๏ The 8th annual French Country Music Awards will be held Oct. 23rd. More info here. ๏ The “International Ambassador of Country Music” George Hamilton IV played Knebworth earlier this summer. Pictured l to r: Tony Byworth, Hamilton IV, Bob Powel and David Allan.

๏ During his recent run of shows in Australia, Tim McGraw invited Aussie opener Steve Forde up on stage for the tour’s final night in Townsville.

Jasmine Rae, Corb Lund, Peter McWhirter and Busby Marou were also on hand to warm up the 12,000+ crowd.

๏ Craig Morgan, Miranda Lambert and Patty Loveless headlined this year’s Country Night festival in Gstaad, Switzerland. “This is one of the largest international concerts of the year,” said Morgan. “It's a great opportunity for us to expand our international audience.” ๏ Three hard-to-find Country and Gospel titles from Australian native and renowned arranger/conductor/ producer Bill Walker are now available through Nashville-based digital label, GMVNashville.com.

Walker was on hand at Loretta Lynn’s 50th anniversary celebration to present the legendary singer with an original arrangement of “Coal Miner’s Daughter.” ๏ In August, brother/sister duo The Roys traveled to Columbia, South America, as part of a missionary trip sponsored by Christian child advocacy ministry, Compassion International. The Roys are the reigning Inspirational Country Music Duo of the Year. ๏ Superstar Alan Jackson is headed to Australia next year for his first ever appearances Down Under. Jackson will visit Melbourne (March 4), Sydney (March 7) and Queensland (March 10-11) with special guests Miranda Lambert and Aussie star Jasmine Rae. ๏ Country artist Tantowi Yahya recently performed for hundreds of appreciative fans at a local show in Indonesia. Yayha also serves as President of the Country Music Club of Indonesia. ๏ The newly-formed Caribbean Country Music Association has named Arden Tannis as its first President.

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Q&A with:

Paul Zamek Paul Zamek is a 40-year veteran of the international entertainment industry. His experience includes serving as the US President/CEO of European Multimedia Group Inc. (EMG), Co-President of RPM Record Group and a member of the Board of Directors of the South African based Gallo Group.

What kind of clients does Zamek World Marketing handle?

PZ: Our client base is diverse, from representing MIDEM, the world's premier music trade show, to initiating AARP's music strategy. My new company, Record Memory, LLC, is a global company with offices in Nashville, Paris, London, Taipei and Hong Kong. We design and manufacture customized USB memory sticks. Some of our recent projects and clients include EMI Music and Apple Corps for the Beatles, UMG for Lady GaGa, Sony Music for Bob Dylan and The Memphis Convention & Visitor's Bureau for the City of Memphis.

With your involvement in music outside the U.S., what is the biggest challenge in marketing Country artists in other parts of the world?

PZ: I would say that a combination of a lack of dedicated label support - both from here and abroad - coupled with the reluctance of most country music artists to leave their US fan base in order to cultivate a new foreign territory are contributing factors.

Unless Country music is serviced to niche media outlets dedicated to promoting Country music exclusively, or unless it has Pop crossover appeal, it tends to be overlooked by, for example, terrestrial radio. Country artists with Pop crossover appeal such as Shania Twain, and more recently Taylor Swift and Lady Antebellum, are therefore more likely to enjoy the full support of their overseas label reps than a traditional Country artist.

From an artist manager perspective, do you find it beneficial for an artist to visit foreign markets as early as possible, or is there a certain level of success they should achieve first?

PZ: Several issues need to be considered before asking a client to travel overseas. The obvious ones are having a strong international team in place - such as knowledgeable publicists,

reputable promoters, label support etc - as well as a real desire from the artist to expand their global fan base and life experience. I would encourage an artist to undertake international tours and/or promo visits as soon as possible in their career. Initially, they are probably not going to enjoy the same recognition or command the same fees that they may be experiencing in the US, but they will find that if they cultivate an international audience early in their careers, those fans are likely to remain loyal for many years and, once established, they can visit those territories on a fairly regular basis.

What do you see as the biggest hurdle in bringing commercial Country music to other parts of the world? Is it technology?

An outdated perception of the genre? Lack of international touring?

PZ: Country music is an intrinsically American genre and one in which lyrics are an important element of the song so, unless we're presenting Country music as an extension of a certain stereotypical facet of an American lifestyle, (e.g Country music festivals that celebrate the "Western" aspect of our culture), we're aiming at an audience that understands English. Happily, most Europeans, especially the music fans drawn to Country music, have an excellent knowledge of English.

Technology - i.e., digital strategy etc, is a valuable and pervasive marketing tool, and we're pretty techno savvy, so current and emerging technology is an essential addition to anyone's tool kit. Additionally, Country music fans in foreign territories tend to embrace their own homegrown Country music artists, due in part to them relating to the local songs as well as the fact that local Country music acts tour their home territories as often as our acts do in ours.

The biggest hurdles therefore are a combination of the lack of consistent touring by American acts as well as regular media exposure to the genre's songs and artists.

What do you see as the future for Country music on a global scale?

PZ: Since the American Country music artists who have Pop crossover appeal are most likely to garner an international audience, and similarly since some of our current biggest sellers - Taylor Swift, Lady A, Rascal Flatts - do have crossover appeal, the future is positive. Acceptance of Country music on an international level depends on the willingness for acts to invest in their own international careers as well as meaningful support from the record labels and management teams who help guide those artist's careers.

Contact Paul Zamek: pzamek@aol.com

Drop us a line at global@aristomedia.com | Š 2010 The AristoMedia Group - All Rights Reserved

APD GLOBAL RADIO INDICATOR CHARTS™

TOP 25 Albums September 2010

VIEW MORE CHARTS AT: www.AirPlayDirect.com/charts The APD Global Radio Indicator Charts™ display the top tracks downloaded for airplay by radio programmers internationally. The charts are accurate as of the date published.

You can view “real-time” charts at AirPlayDirect.com/ charts. We take pride in having built a transparent charting system that accurately reports the hot artists and tracks available within the AirPlay Direct community.

APD GLOBAL RADIO INDICATOR CHARTS™

TOP 25 Americana / AAA Albums September 2010

VIEW MORE CHARTS AT: www.AirPlayDirect.com/charts The APD Global Radio Indicator Charts™ display the top tracks downloaded for airplay by radio programmers internationally. The charts are accurate as of the date published.

You can view “real-time” charts at AirPlayDirect.com/ charts. We take pride in having built a transparent charting system that accurately reports the hot artists and tracks available within the AirPlay Direct community.

APD GLOBAL RADIO INDICATOR CHARTS™

TOP 25 Bluegrass / Folk Albums September 2010

VIEW MORE CHARTS AT: www.AirPlayDirect.com/charts The APD Global Radio Indicator Charts™ display the top tracks downloaded for airplay by radio programmers internationally. The charts are accurate as of the date published.

You can view “real-time” charts at AirPlayDirect.com/ charts. We take pride in having built a transparent charting system that accurately reports the hot artists and tracks available within the AirPlay Direct community.

APD GLOBAL RADIO INDICATOR CHARTS™

TOP 25 Blues Albums September 2010

VIEW MORE CHARTS AT: www.AirPlayDirect.com/charts The APD Global Radio Indicator Charts™ display the top tracks downloaded for airplay by radio programmers internationally. The charts are accurate as of the date published.

You can view “real-time” charts at AirPlayDirect.com/ charts. We take pride in having built a transparent charting system that accurately reports the hot artists and tracks available within the AirPlay Direct community.

APD GLOBAL RADIO INDICATOR CHARTS™

TOP 25 Country / Alt. Albums September 2010

VIEW MORE CHARTS AT: www.AirPlayDirect.com/charts The APD Global Radio Indicator Charts™ display the top tracks downloaded for airplay by radio programmers internationally. The charts are accurate as of the date published.

You can view “real-time” charts at AirPlayDirect.com/ charts. We take pride in having built a transparent charting system that accurately reports the hot artists and tracks available within the AirPlay Direct community.

APD GLOBAL RADIO INDICATOR CHARTS™

TOP 25 Rock Albums September 2010

VIEW MORE CHARTS AT: www.AirPlayDirect.com/charts The APD Global Radio Indicator Charts™ display the top tracks downloaded for airplay by radio programmers internationally. The charts are accurate as of the date published.

You can view “real-time” charts at AirPlayDirect.com/ charts. We take pride in having built a transparent charting system that accurately reports the hot artists and tracks available within the AirPlay Direct community.

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AMA TOP 40 ALBUMS - REPORTED OCT. 4, 2010

AMERICANA AIRPLAY CHART

AMA TOP 40 ALBUMS - REPORTED OCT. 4, 2010

AMA TOP 40 ALBUMS - REPORTED OCT 4, 2010

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EUROPEAN TOP 40 - REPORTED OCT. 3, 2010

HOTDISC CHART

EUROPEAN TOP 40 SINGLES - REPORTED OCT. 3, 2010

EUROPEAN TOP 40 SINGLES - REPORTED OCT. 3, 2010

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INDEPENDENT BRITISH IRISH TOP 10 - REPORTED OCT. 3, 2010

HOTDISC CHART

October 2010

CMW CMW No.1 Songs AC CHR

SANCTUS REAL Lead Me [Sparrow/EMI] THIRD DAY Lift Up Your Face [Essential/PLG]

ROCK

DISCIPLE Dear X (You Don’t Own Me) [INO]

INSPO

JEREMY CAMP Jesus Saves [BEC/ Tooth & Nail]

OF RADIO DECISION MAKERS READ

CMW

EMF Partners With GSS To Offer Alert FM Educational Media Foundation (EMF), parent company of the K-Love and Air1 networks, and Global Security Systems (GSS) have entered into a partnership that will up the number of stations to 450 that GSS will be able to enable their Alert FM system to utilize across the country. Alert FM is a personal alert and messaging operation that delivers emergency alert messages to receivers that have a FM radio chip and the Alert FM software. The system works off of FM-subcarrier technology.

EMF VP/Engineering Sam Wallington shares, “The ability to save lives in a disaster is a significant part of the public trust that we seek to fulfill at all of our radio stations. Because Alert FM ensures real-time concurrent distribution of emergency alerts to all devices equipped with an FM receiver and Alert FM software, it is far superior to cellular transmission which is not designed for simultaneous multiple-point distribution.”

Digital Download Sales Flat, Trending Down United States-based digital download sales have taken a surprise hit during 2010 as Nielsen reports that digital music sales are off by almost one percent from a year ago. Music sales online have been slowing as they continued to trend upward over the past few years, but the flat sales for 2010 has come as a slight shock to many record labels, artists, and those that sell the bulk of digital music, like iTunes

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Congrats and candy cigars go out to Francesca Battestelli and hubby Matt Goodwin as their first child, Matthew Elijah, came into the world on Sept. 22 at a healthy 8 lbs. 15 oz. ... Third Day debuted the video for the multi-format hit “Lift Up Your Face” on HearItFirst.com earlier this week ...

Anberlin welcomes ministry outfit Land of a Thousand Hills Coffee on their five-week fall tour, helping the organization raise money for orphan homes and a coffee washing station in coffee farming communities within Haiti and Rwanda ... Disciple’s latest disc Horseshoes& Handgrenades grabs top

and Amazon. 2009 saw a 13 percent gain over the first two quarters, while 2008 saw a huge 28 percent ramp up in online music sales over the previous year during the same timeframe.

With close to half of record label's total revenue now coming from digital music sales, the news is not good. The big jumps in online sales have been a cash flow gift as physical CD sales continue to dwindle and retail shelf space dries up. The halt in double-digit sales growth experienced over the past several years is also impacting companies like Apple, whose iPod device has seen sales dip 6.3 percent through June.

One positive note though is that music buyers are now gravitating back toward full album and deluxe-edition digital purchases, at least for the short term, as Nielsen Soundscan shows through early September a 13 percent rise in digital album sales year-to-year. Most label's have not experienced a deficit over 2009 however, as variable pricing for albums and individual tracks continue to cover what would have turned out to be a decline in revenue. Especially those premium mp3's that are now selling for upwards of $1.29 per cut on various online merchant websites.

THANKS for reading Christian Music Weekly honors this week on the national Christian charts, selling over 8,000 units its first first of release. The project also features the current No. 1 CMW Rock and CHR Top 10 tune “Dear X (You Don't Own Me)” ... Ian Eskelin finishes up production work on the new Hawk Nelson yet untitled album that will see the light of day in Feb. 2011. The first radio single from the disc is up for adds this week called “Crazy Love” ... Steven Curtis Chapman unveils a new EP entitled Safe In The Arms that peaked at No. 2 on the iTunes Christian chart this past week. It's only available via digital outlets and hails a song with Matt Redman and an acoustic rendition of the hit “Beauty Will Rise” ...

Flyleaf's next video offering for their tune “Chasm” is now up on their MySpace page here ... Run Kid Run has been a buzz band on many social outlets as they spend some > more on page 2 <

News & Tunes time in the studio with Matt Thiessen (Relient K) and Mark Lee Townsend, laying down more tracks for their early 2011 release ... Derek Webb, Robbie Seay Band, Sandra McCracken and author Donald Miller are teaming up for a two-week tour in mid-Nov that will feature music, art and storytelling.

The “Love Tells The Story Tour” will make its way across the South and East sides of the country ... Dave Barnes will release his first holiday disc this year as Very Merry Christmas will spotlight traditional songs with a contemporary flair along with six original tunes. The project makes its way to retail on Nov. 9 ...

Future of Forestry will also head street-side on Nov. 2 with their second installment of their Advent Christmas series, offering up six arrangements including four remade holiday classics ... Sarah Kelly shares that a good portion of the profits from her independent release Midnight Sun will benefit multiple charities, including cancer research, fighting human trafficking, and feeding underprivileged youth ... Reach Records signs Tampa rap artist, and occasional preacher Kevin “KB” Burgess to a national recording contract. KB has been featured on past label releases, including Lecrae's newest Rehab project ... Las Vegas and pop legend Tom Jones is out promoting his first ever Gospel southern/blues project Praise & Blame that hit retail in July, making appearances on Sirius XM's Outlaw Country channel, Good Morning America, and The Late Show with David Letterman over the past week ... The six-piece ambient rock outfit from Orlando called Bellarive joins the Come & Live! label, with their debut EP The Being Human Project already hitting the label's website and (of course) being available for free here.

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INDUSTRY NEWS [from page 1] KHLL and Press Play Offer Up Disc To Local Schools For Free “We’re on a campaign to stomp out raunchy dance line music at area high schools and three local universities,” states KHLL/ Monroe, LA SM Rick Godley.

“One of our positioning statements is that we serve the community and advance the Kingdom, so when the new Press Play CD came along with the title song, “NY2LA,” that’s when the idea was birthed!”

Godley is referring to the idea of presenting positive-upbeat music to area teachers, dance and drill team coaches, and cheerleader squads, for free, to help weed out the negative and degrading music usually heard at most school functions and sporting events.

The station contacted Dream Records in Los Angeles and asked if the label would make their new NY2LA disc available to any teacher-sponsor that oversaw area dance, drill team, or cheerleader teams. The label and Press Play rushed a big box of CDs to the station and they began contacting school teachers and coaches immediately. The response has been impressive.

“We’re very encourage by the response and are open to other ideas from other artists who want to jump on board,” says Godley. “We encourage all other radio stations to follow suit and be bold and go over the air and on the field with our music.”

Industry Shorts names as their new VP/Radio. Lambert has been with the organization for seve years ... hires as its new Dir./Programming beginning Nov. 8. Stevens comes over after serving for seven years at WAWZ/New York, most recently in the APD/MD position. He takes over the slot left vacate by 's promotion to SM this past June ... In lieu of Stevens exit, moves from nights to PM drive, and is upped to nights from weekends ... will exit as co-host of and Today's Christian Music Network morning show, effective Oct. 1 to be a full-time mom.

CMW Adds This Week CALEB ROWDEN Your Word Remains [CRM]

HAWK NELSON Crazy Love [Tooth & Nail]

JASON GRAY I Am New [Centricity]

KARI JOBE Everyone Needs A Little [Integrity]

QUEENS CLUB Lydia [Tooth & Nail]

RUNAWAY CITY Daybreak [Vertusent]

TEMPLE VEIL Party Song [Temple Veil]

TENTH AVENUE NORTH You Are More [Reunion/PLG]

TWENTYFOUR64 Running Soundly [TwentyFour64]

YANCY Don’t Stop [YancyMusic] NEXT WEEK: JASON CASTRO You Are [Atlantic/Word] SEND RADIO SINGLE INFORMATION TO: Rick Welke - rick@christianmusicweekly.com

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