New Music Video From Blake Shelton - "Let Him In Anyway"

New Music Video From Blake Shelton - "Stay Country or Die Tryin'"

New Music Video From Blake Shelton - "Texas"

New Music Video From Old Dominion and Blake Shelton - "Ain't Got A Worry"

Warner Bros. Records and Reprise: The Sinatra Touch That Heavily Influenced Country Music

Sixty years ago today, in a fateful move on September 3, 1963, Warner Bros. Records merged with Frank Sinatra's Reprise Records, a pivotal moment that would prove to be a cornerstone in the musical journey of several artists and genres. At a first glance, it might seem a peculiar pairing - the cinematic Warner Bros. and the crooning Sinatra. But in the grander tapestry of musical history, it was an alliance that would help shape the destiny of country music.

The merger was an act of saving grace. Sinatra's Reprise was knee-deep in financial woes, and Warner Bros. came as the knight in shining armor, albeit in a "rescue takeover". With a whopping deal valued at around US $10 million, the transaction was more than just a business arrangement. It brought Sinatra on board as a recording artist and an actor for Warner Bros. Pictures, making him not just an artist but a significant stakeholder with a one-third share in the combined record entity.

However, the merger did come with its set of challenges. Reprise's financial turbulence posed a considerable threat to Warner Bros., potentially dragging its ledger back into the dreaded red zone. It was a decision not taken lightly, and the initial reception was a mixed bag of dismay and reluctance. Ben Kalmenson, a close aide to Jack Warner, had to explicitly communicate the importance and expectation of this merger, leaving little room for disagreement.

The initial misgivings would soon be overshadowed by the massive successes the partnership would bring. The latter part of the 1960s saw Reprise blooming with Sinatra's iconic comeback and chart-toppers from both him and his daughter, Nancy. Furthermore, the label landed the lucrative US distribution rights for titans of rock - The Kinks and Jimi Hendrix.

The biggest takeaway from the merger, however, wasn't just the soaring numbers or hits. It was Mo Ostin, the Reprise manager. His integration into the Warner clan was more than just an addition of a manager; it was the acquisition of a visionary. Ostin's unparalleled business acumen combined with his innate musical instincts and an uncanny ability to connect with artists made him an invaluable asset for Warner. His influence in the decades following the merger would prove to be monumental, establishing Warner's reputation in the music industry.

But the legacy of this merger was not limited to rock and pop. Warner-Reprise's decision to branch out into country music proved to be a game-changer. This venture introduced the world to a plethora of country legends such as Donna Fargo, Faith Hill, Dwight Yoakam, Blake Shelton, Randy Travis, and Emmylou Harris. Sinatra's influence, albeit indirectly, played a part in launching these iconic country artists, adding another feather to his legendary cap.

Looking back, it's evident that the Warner Bros. and Reprise merger wasn't just about numbers and balance sheets. It was about vision, passion, and the ability to see beyond the immediate challenges. It was about Frank Sinatra, the music icon, playing a pivotal role in shaping the music industry's landscape and being instrumental (pun intended) in the rise of numerous artists across genres.

In conclusion, the merger is a testament to the power of collaboration, vision, and the undeniable influence of Frank Sinatra. It stands as a beacon, highlighting the importance of embracing change, even if it comes with initial challenges. Because, in the end, it's not just about the music—it's about the legacy.

New Music Video From Zac Brown Band & Blake Shelton - "Out in the Middle"

Write You A Song Podcast - An Interview With Songwriting Hall of Famer Steve Dorff

This morning we share another new podcast from host Tom Mailey from Bonneville radio station New Country 105.1 KNCI in Sacramento. Tom is a country radio veteran with over 30 years of experience in Seattle and Sacramento and a key partner in our Golf & Guitars Children's Charity Music Festival, a little event in our twelfth year that has raised well north of a million bucks for kids and individuals with disabilities. It highlights the songwriters in our industry and is entitled Write You a Song. 

It's his hope that this podcast will shine a little overdue spotlight on the talented men and women who, mostly behind the scenes, write the songs that become part of our lives. You know their words and music, but maybe not their names: Write You a Song will feature some of country music’s biggest songwriters--like Jeffrey Steele, Brett Warren, Ashley McBryde, Tim Nichols and more.

This month's guest didn't set out to write some of country music's most romantic ballads. But then...Clint Eastwood called. 

There is no doubt Steve Dorff is talented beyond measure. But how he found country music - or rather, how country music found him- is a tale all to itself. 

One of the most successful songwriters and composers of the last 25 years, Steve Dorff has penned over 20 Top 10 hits for pop and country artists around the world, including Barbra Streisand, Celine Dion, Blake Shelton, Smokey Robinson, Kenny Rogers, Ray Charles, Anne Murray, Whitney Houston, George Strait, Dolly Parton, Judy Collins, Cher, Dusty Springfield, Ringo Starr, and Garth Brooks. 

Sit back and enjoy the incredible story of an incredible artist: composer, arranger, director, lyricist...he can-and has- done it all.

And that's not even counting the theme song to "Growing Pains."

Write You A Song Podcast - Interviewing Singer/Songwriter/Author Aimee Mayo

This morning we share another new podcast from host Tom Mailey from Bonneville radio station New Country 105.1 KNCI in Sacramento. Tom is a country radio veteran with over 30 years of experience in Seattle and Sacramento and a key partner in our Golf & Guitars Children's Charity Music Festival, a little event in our twelfth year that has raised well north of a million bucks for kids and individuals with disabilities. It highlights the songwriters in our industry and is entitled Write You a Song. 

It's his hope that this podcast will shine a little overdue spotlight on the talented men and women who, mostly behind the scenes, write the songs that become part of our lives. You know their words and music, but maybe not their names: Write You a Song will feature some of country music’s biggest songwriters--like Jeffrey Steele, Brett Warren, Ashley McBryde, Tim Nichols and more.

If Aimee Mayo had never become a successful Nashville songwriter, her story would still be worth telling. 

Growing up in a dysfunctional family in Gadsden, Alabama, Aimee dreamed of a life beyond constant personal chaos and somehow, against all odds, she achieved it. Her book recounting that journey, "Talking To The Sky: A memoir about living your best life in a sh*t show" is available now and is an engrossing study in human resilience. It's also really, really well-written. That Aimee is here at all is a testament to her spirit, her talent, and her unwavering faith in a better life than the one she lived growing up.

A successful songwriter of hits for artists like Blake Shelton (Every Time I Hear That Song), Tim McGraw (You're My Best Friend), Kenny Chesney (Who You'd Be Today), Martina McBride (This One's For The Girls), Kelli Pickler (Red High Heels), she is probably best known for co-writing the multi-genre smash, "Amazed" for Lonestar along with now-husband Chris Lindsay and Marv Green. That year Aimee ALSO won the BMI country songwriter of the year award – becoming one of only a handful of female writers to win both- putting her in the company of ladies like Dolly, Loretta and Taylor. Not bad for someone who doesn’t play an instrument and who, for a long time, could only dream of a different life far away from the life she knew growing up.

Interview Flashback - The 9513’s Interview With Singer/Songwriter Rachel Proctor

I have been blessed to write contributions/reviews/interviews/opinion pieces for several country music and roots-oriented websites and publications over the years including Saving Country Music, Nashville Scene, Country California, Country Weekly, American Noise, The 9513 and Engine 145. As a regular contributor to the last two in that list, I did close to a 100 interviews with different artists- and since both of those great sites have come down, I will reprint some of those interviews here to give them a home in perpetuity. This interview was originally published in July 2010 on The 9513.

Rachel Proctor was born in West Virginia almost quite literally into music. She began singing in front of crowds at the ripe old age of six and traveled all over the country to participate in talent competitions- culminating in her starring on the American Idol show of 1989, the hit TV show Star Search. At eighteen, Proctor moved to Nashville and became the youngest staff writer ever signed to Warner-Chappell Music. She spent the better half of the 90’s singing in a band with a then-unknown Blake Shelton. But she continued to hone her songwriting skills and artists such as Tanya Tucker, Lisa McCann, Danielle Peck, The Lynns, Nashville Star winner Erika Jo, Kenny Loggins, Katrina Elam, Blake Shelton and Martina McBride all recorded her penned songs in those early days.

Proctor signed to BNA Records finally in 2002 and released her debut album Where I Belong. It spawned chart hits "Days Like This" (#24 in 2003), "Didn't I" (#43 in 2003), “Where I Belong” (#37 in 2004) and her highest chart hit, "Me and Emily" (#18 in 2004). The last track, a song about a young parent escaping from domestic abuse, became an anthem for abused women across the world and earned a direct commendation from then-President Bush.

After losing her record deal after BNA was purchased, she kept with her songwriting roots, co-writing country/pop singer Jessica Simpson's 2008 singles "Come On Over" and "Remember That" and Jesse Lee's 2009 debut single "It's a Girl Thing". This last October, she went the indie route and self-released a brand new album called What Didn’t Kill Me.

“This album is a collection of songs from the last 5 years of my life. There have been a lot of ups and downs & loves and losses that have made me grow both as singer and as a songwriter. I've always believed in writing from the heart about my own life experiences.”

Each of the 11 songs of the album are written or co-written by Proctor and that life experience from the last few years is poured out best on the title track off of the album. She uses the loss of her major label record deal and her scrape for musical relevance as inspiration on a great autobiographical song about getting stronger from the stuff that knocks you down. Overall, Proctor has focused more on striking equilibrium between fast up-tempo numbers and those introspective ballads that marked her radio success the first go-around.

The 9513 caught Rachel for a quick interview in between songwriting assignments to talk about her album and upcoming projects.

Ken Morton, Jr.: You just launched a brand new album of all new material called What Didn’t Kill Me. What will fans will hear on the album?

Rachel Proctor: What Didn't Kill Me is a little edgier and more personal than my previous releases. I wrote most of the songs with Bruce Wallace so the album definitely has its own sound. Somewhere between Miranda Lambert and Carrie Underwood.

KMJ: You’ve mentioned before there’s a deeper meaning behind the album’s title. How so?

RP: I went through a lot of ups and downs after leaving BNA Records. There was a lot of soul searching and healing that happened in the years between "Where I Belong" and "What Didn't Kill Me." I've found that it's true what they say... Everything we go through good or bad makes us who we are and hopefully makes us stronger.

KMJ: I would say it’s decidedly more up-tempo and edgier than your previous release- is that fair assessment?

RP: Absolutely!

KMJ: Any favorite songs on the album?

RP: It's a toss up between "Wrong" and "Don't Let It Hit Ya"

KMJ: You’ve had a tremendous amount of success as a songwriter, a more moderate amount of success as a singer and performer. Do you envision yourself as one or the other or do the two things go hand in hand?

RP: They most definitely go hand in hand. I don't think I could do one without the other.

KMJ: On your first release, you had four charted hits, but one single in particular really resonated deeply with America. Talk to me about “Me and Emily.” What did that song mean to you and to those that identified so much with the song?

RP: The song was a gift from God from the very beginning. I feel blessed to have written it. I met so many wonderfully strong women because of the song and I'm very thankful for that.

KMJ: What was it like touring around as nobody’s with Blake Shelton back in the 90’s?

RP: It was an absolute blast. Blake is so fun to work with.

KMJ: Jessica Simpson certainly caused lots of discussion with her release of your song “Come On Over”- most of it fairly polarizing on both ends of the argument spectrum. What was it like being the songwriter behind that track?

RP: It was one of the most exciting times for me as a writer. Jessica is an amazing girl and working with her was a great experience. She recorded two of my songs and I am very proud of the cuts. Her whole album is really well written and produced. People are missing out if they don't at least give it a listen. They may find they really like it. I still listen to it myself.

KMJ: Any other songs out there either in the recording process or on-hold that we should keep an eye out for?

RP: I have two songs on Jennette McCurdy's album. I co-wrote her first single "Not That Far Away" with her and Blair Daly. I also have a cut on Jewel's new album called "Bad As It Gets." I'm excited about writing a song with Margaret Durante called "Maybe Tonight" that is available as a free download on her website www.margaretdurante.com

KMJ: What new projects are you working on?

RP: I'm focused on songwriting right now. I've been trying to write by myself more which I have never really done. I feel a new project on the horizon with some of this new stuff.

KMJ: Are you still hopeful for another major record deal opportunity?

RP: If the right deal came along I would truly consider it but I'm not actively seeking it out. I love my life as a songwriter.

KMJ: What is country music to Rachel Proctor?

RP: To me country music is about real life. It doesn't matter to me if it's stone cold country or contemporary country. It's all about a great song.

Shenandoah Collaborates With Modern Country Radio Stars On Upcoming Every Road Album Release

Artist: Shenandoah

Album: Every Road

Label: Foundry Records
Release date: 11/13/20

GRAMMY, ACM and CMA winning band Shenandoah, led by frontman Marty Raybon and co-founding member Mike McGuire, haven't released an album of all-new music since 1994. That'll change Nov. 13, 2020 with Every Road via Foundry Records, which includes the band being paired with fellow stars including collaborations with Luke Bryan, Blake Shelton, Ashley McBryde, Dierks Bentley, Lady A, Zac Brown Band, Carly Pearce, Cody Johnson and Brad Paisley. The first single off the new album, "I'd Take Another One of Those," featuring Zac Brown Band.

Every Road will be the band's 10th studio album after notching 13 No. 1 hits and charting 26 singles on Billboard country charts throughout their career. 

Shenandoah, fueled by Raybon’s distinctive vocals and the band’s skilled musicianship, are celebrated for delivering such hits as “Two Dozen Roses”, “Church on Cumberland Road” and “Next to You, Next to Me” as well as such achingly beautiful classics as “I Want to be Loved Like That” and the brilliant “Somewhere in the Vicinity of the Heart” duet with Alison Krauss.

EVERY ROAD TRACK LIST:

Produced By: Buddy Cannon

1. "I’d Take Another One Of Those" (with Zac Brown Band)

2. "Make It Til Summertime" (with Luke Bryan)

3. "If Only" (with Ashley McBryde)

4. "Every Road" (with Dierks Bentley)

5. "Then A Girl Walks In" (with Blake Shelton)

6. "High Class Hillbillies" (with Cody Johnson)

7. "Every Time I Look At You" (with Lady A)

8. "Life Would Be Perfect" (with Brad Paisley)

9. "I’ll Be Your Everything" (with Carly Pearce)

10. "Boots On Broadway"

Luke Combs, Carrie Underwood & Thomas Rhett Among Big Winners In 55th Annual Academy of Country Music Awards

Winners have been announced for the 55th Academy of Country Music Awards, live from Nashville. 15-time ACM Award-winning artist Keith Urban hosted the show featuring three iconic Nashville venues including Grand Ole Opry House, Nashville’s historic Ryman Auditorium and The Bluebird Cafe. For the first time in ACM Awards history, Thomas Rhett and Carrie Underwood tied for the Academy’s highest honor Entertainer of the Year Award – the first ever tie in that category. This is Rhett’s first win in the Entertainer of the Year category, and Underwood’s third win, making her the most awarded female in the ACM Entertainer of the Year category.

Old Dominion won Group of the Year Award for the third consecutive year and won their first Song of the Year Award for “One Man Band” with Matthew Ramsey, Trevor Rosen and Brad Tursi each receiving an additional win as songwriters. This marks two overall wins as a group, with Ramsey, Rosen and Tursi leading the night with three individual wins, each.  Miranda Lambert continues her reign as most-awarded artist in ACM Awards history with 35 wins, after taking home this year’s trophy in Music Event of the Year category for “Fooled Around And Fell In Love.” Dan + Shay won Duo of the Year marking their second win in a row in the category.

The evening continued with more first-time wins including Luke Combs earning his first Male Artist of the Year Award and his first-ever win for Album of the Year for What You See Is What You Get. Maren Morris won her first Female Artist of the Year Award and her first Music Event of the Year for “Fooled Around And Fell In Love” alongside Lambert, Ashley McBryde, Tenille Townes, Caylee Hammack & Elle King. Blake Shelton won Single of the Year Award for “God’s Country” making this his first-ever win in the category.

Previously announced, Riley Green won New Male Artist of the Year and Tenille Townes won New Female Artist of the Year. Townes also won her first Music Event of the Year Award and both performed on the telecast and are featured on the newly released “On The Road Again (ACM Lifting Lives® Edition)” single, Willie Nelson’s timeless hit, featuring the ACM New Artist Nominees Ingrid Andress, Gabby Barrett, Jordan Davis, Russell Dickerson, Lindsay Ell, Caylee Hammack, Cody Johnson, and Morgan Wallen, joined by Nelson. Produced by Ross Copperman and Jimmy Robbins. Proceeds from the single will benefit ACM Lifting Lives COVID-19 Response Fund to be disbursed to individuals in the Country Music community who are currently in need of pandemic relief assistance.

This year’s 55th ACM Awards featured an all-star lineup of collaborations and memorable performances featuring 24 performances, including 41 hit songs. The awards telecast kicked off with Entertainer of the Year nominees performing a medley of each of their greatest hits. Luke Bryan performed “Rain Is A Good Thing,” Eric Church performed “Drink In My Hand,” Luke Combs performed “When It Rains It Pours,” Thomas Rhett performed “It Goes Like This” and Carrie Underwood performed “Before He Cheats.”

Global superstar and two-time ACM Entertainer of the Year, Taylor Swift, returned to the ACM Awards stage for the first time in seven years with a world premiere performance of “betty” off her record-breaking new album Folklore.  55th ACM Awards host Keith Urban performed the world television premiere of his new single, “One Too Many” with international pop icon P!NK, from  Urban’s new album out Friday, Speed of Now. Mickey Guyton made her solo ACM Award performance debut with “What Are You Gonna Tell Her?” featuring surprise guest Urban on piano. Blake Shelton featuring Gwen Stefani performed their latest single “Happy Anywhere.” Eric Church opened his performance with “Ragged Old Flag” a poem read by Johnny Cash which led into his single “Stick That In Your Country Song.”

In celebration of the 95th anniversary of the Grand Ole Opry, newly crowned three-time ACM Entertainer of the Year winner, Carrie Underwood, honored trailblazing female Opry members by performing a medley of songs including Patsy Cline’s “Crazy,” Loretta Lynn’s “You Ain’t Woman Enough (To Take My Man),” Barbara Mandrell’s “I Was Country When Country Wasn’t Cool,” Martina McBride’s “A Broken Wing,” Reba McEntire’s “The Night the Lights Went Out In Georgia,” and Dolly Parton’s “Why’d You Come In Here Lookin’ Like That.”

Additional performances included first-time ACM Awards performer Jimmie Allen (“Make Me Want To”), Kelsea Ballerini (“hole in the bottle”), Gabby Barrett (“I Hope”), Kane Brown (“Worldwide Beautiful”), Luke Bryan (“One Margarita”), Luke Combs (“Better Together”), Dan + Shay (“I Should Probably Go To Bed”),  Florida Georgia Line (“I Love My Country”), Riley Green (“I Wish Grandpas Never Died”), Miranda Lambert (“Bluebird”) featuring Songwriters Natalie Hemby & Luke Dick, Tim McGraw (“I Called Mama”), Maren Morris (“To Hell & Back”), Old Dominion (Medley of “One Man Band,” “Written in the Sand,” “No Such Thing as a Broken Heart,” “Break Up With Him,” “Snapback,” “Song For Another Time,” “Hotel Key” & “Make It Sweet”), Thomas Rhett featuring Jon Pardi (“Beer Can’t Fix”), Tenille Townes (“Somebody’s Daughter”), and Morgan Wallen (“Whiskey Glasses”). Presenters included Lauren Alaina, Lily Aldridge, Clint Black and Lisa Hartman Black, ACM National Radio Personality of the Year Winner Bobby Bones, Cam, Darius Rucker, Runaway June and CeCe Winans. Rucker also gave a sneak peek of the National Museum of African American Music, scheduled to open this Fall in Downtown Nashville.

For the first time in the show’s history, the 55th ACM Awards took place in Nashville, broadcasting from three iconic Country Music venues: Grand Ole Opry House, Nashville’s historic Ryman Auditorium and The Bluebird Cafe. Artists who performed from the Ryman include Kelsea Ballerini, Gabby Barrett, Riley Green, Maren Morris, Old Dominion, Thomas Rhett featuring Jon Pardi, and Tenille Townes. Performances from the Grand Ole Opry House included Kane Brown, Luke Bryan, Dan + Shay, Eric Church, Florida Georgia Line, Mickey Guyton, Taylor Swift, Carrie Underwood and Morgan Wallen. Artists at The Bluebird Cafe included Jimmie Allen, Luke Combs, Miranda Lambert featuring songwriters Natalie Hemby and Luke Dick, and Tim McGraw. Fans also enjoyed a virtual collaboration by Keith Urban and P!NK as well as a virtual Bluebird Cafe performance with Blake Shelton featuring Gwen Stefani. Multi-ACM Award winning artist Trisha Yearwood delivered a special performance from the Opry House of “I’ll Carry You Home” from her critically acclaimed album Every Girl for the In Memoriam, paying tribute to those we have lost in the Country Music industry.

Following is the list of winners in the 13 categories voted on by Academy members:

MAIN AWARDS:

Entertainer of the Year:
Thomas Rhett
Carrie Underwood

Female Artist of the year
Maren Morris

Male Artist of the year
Luke Combs

Duo of the year
Dan + Shay
 
Group of the Year
Old Dominion

New Female Artist of the Year
Tenille Townes

New Male Artist of the Year
Riley Green

Album of the Year [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
What You See Is What You Get – Luke Combs

Producer: Scott Moffatt
Record Label: River House Artists/Columbia Nashville

Single of the Year [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)]
God’s Country – Blake Shelton
Producer: Scott Hendricks
Record Label: Warner Bros. (Nashville)
 
Song of the Year [Awarded to Songwriter(s)/Publisher(s)/Artist(s)]
One Man Band – Old Dominion
Songwriter(s): Josh Osborne, Matthew Ramsey, Trevor Rosen, Brad Tursi
 
Video of the Year [Awarded to Producer(s)/Director(s)/Artist(s)] *(Off Camera Award)
Remember You Young – Thomas Rhett
Director: TK McKamy
Producer: Dan Atchison

Songwriter of the Year *(Off Camera Award)
Hillary Lindsey

Music Event of the Year [Awarded to Artist(s)/Producer(s)/Record Company–Label(s)] *(Off Camera Award)
Fooled Around And Fell In Love – Miranda Lambert Featuring Maren Morris, Ashley McBryde, Tenille Townes, Caylee Hammack & Elle King
Producer: Jay Joyce
Record Label: Vanner Records/RCA Records Nashville

Write You a Song Podcast - An Interview With Songwriter and Country Artist Devin Dawson

We share another new podcast from host Tom Mailey from Bonneville radio station New Country 105.1 KNCI in Sacramento. Tom is a country radio veteran with over 30 years of experience in Seattle and Sacramento and a key partner in our Golf & Guitars Children's Charity Music Festival, a little event in our twelfth year that has raised well north of a million bucks for kids and individuals with disabilities. It highlights the songwriters in our industry and is entitled Write You a Song. 

It's his hope that this podcast will shine a little overdue spotlight on the talented men and women who, mostly behind the scenes, write the songs that become part of our lives. You know their words and music, but maybe not their names: Write You a Song will feature some of country music’s biggest songwriters--like Jeffrey Steele, Brett Warren, Ashley McBryde, Tim Nichols and more.

Singer/Songwriter Devin Dawson's debut album, "Dark Horse", was one of the most critically acclaimed country albums when it was released in 2018. Although it yielded only one top ten hit, "Put It All On Me", the album's daring mixture of country, rock, Americana and even 70s songwriter pop was something different- and introduced a new, gutsy songwriter not afraid to address the vulnerabilities and challenges of being someone off to the side...the Dark Horse. Since then, Devin has toured with Tim McGraw, helped co-write one of 2019's biggest hits, Blake Shelton's "God's Country," and along with fellow young songwriters like Hardy and Mitchell Tenpenny, is on the forefront of a new generation of country singer/songwriters who are poised to shift Nashville in a new direction, while still respecting its longstanding traditions.

Write You a Song Podcast - An Interview With Songwriter Paul Overstreet

This morning we share another new podcast from host Tom Mailey from Bonneville radio station New Country 105.1 KNCI in Sacramento. Tom is a country radio veteran with over 30 years of experience in Seattle and Sacramento and a key partner in our Golf & Guitars Children's Charity Music Festival, a little event in our twelfth year that has raised well north of a million bucks for kids and individuals with disabilities. It highlights the songwriters in our industry and is entitled Write You a Song. 

It's his hope that this podcast will shine a little overdue spotlight on the talented men and women who, mostly behind the scenes, write the songs that become part of our lives. You know their words and music, but maybe not their names: Write You a Song will feature some of country music’s biggest songwriters--like Jeffrey Steele, Brett Warren, Ashley McBryde, Tim Nichols and more.

Paul Overstreet recorded 10 studio albums between 1982 and 2005, and charted 16 singles on the Billboard country charts, including two No. 1 hits. He has also written 27 top ten singles for several other country acts, including No. 1 hits for Randy Travis, Blake Shelton, and Keith Whitley, as well as hits for The Judds and Kenny Chesney.

Hear more of this unique Nashville success story from one of country music's most sought-after collaborators, this month, on this unique Write You a Song podcast.

Write You A Song Podcast - An Interview With Singer/Songwriter Jessi Alexander

Today, we share another new podcast from host Tom Mailey from Bonneville radio station New Country 105.1 KNCI in Sacramento. Tom is a country radio veteran with over 30 years of experience in Seattle and Sacramento and a key partner in our Golf & Guitars Children's Charity Music Festival, a little event in our thirteenth year that has raised well north of a million bucks for kids and individuals with disabilities. It highlights the songwriters in our industry and is entitled Write You a Song.

It's his hope that this podcast will shine a little overdue spotlight on the talented men and women who, mostly behind the scenes, write the songs that become part of our lives. You know their words and music, but maybe not their names: Write You a Song will feature some of country music’s biggest songwriters--like Jeffrey Steele, Brett Warren, Ashley McBryde, Tim Nichols and more.

Songwriter Jessi Alexander joined us during the 2nd week of the Covid 19 quarantine- which also happened to be the week when her solo album dropped. Busy homeschooling her kids and trying to promote a new record, she still found time to talk on the podcast about smash hits she's written for others, including "Drive Your Truck" for Lee Brice, "Mine Would Be You" for Blake Shelton and Miley Cyrus' anthem, "The Climb."

New Music Video From Blake Shelton and Gwen Stefani - "Nobody But You"

Nashville Singer/Songwriter Jessi Alexander Announces Decatur County Red Out March 27

Artist: Jessi Alexander
Album: Decatur County Red
Recorded: Southern Ground Studios
Release date: March 27, 2020

GRAMMY-nominated, CMA and ACM Award-winning songwriter and one of Nashville’s most prolific lyricists — will return to her roots on March 27th with the release of Decatur County Red, her first new album since 2014. This celebrated singer-songwriter’s album was inspired by her muse: a cabin in Tennessee River in Decatur County left to her by her Grandmother. Dedicated to “the folks that love sad songs, beer joints, pedal steel, and country music."

Her first release off of the project is the song “Mama Drank”, co-written by Alexander and her husband Jon Randall (Alison Krauss, Emmylou Harris, Brad Paisley). The track is a testament to her own experience as a mom-of-three with the “working mom blues” and the “delicate dance working like a man, while you’re keeping your apron tied”.

Decatur County Red features eight new songs that blend stories of hell-raising, blue-collar characters like the barn-burner “Country Music Made Me Do It” feat. Randy Houser, with more sultry, fragile numbers like “I Should Probably Go Now”, where Alexander fearlessly wears her heart on her sleeve to create a candid snapshot of two lovers coping with infidelity. The album takes a more personal turn as she dives into her time grinding on Music Row with “Damn Country Music” and “How I’m Going Out”, where she reflects on the loss of her friend and fellow songwriter Andrew Dorff and all other ghosts that live on Music Row.

To immaculately capture these deeply personal stories and characters, Alexander turned to collaborators like The Brothers Osborne, husband Jon Randall (Alison Krauss, Emmylou Harris, Brad Paisley), Josh Thompson (Jason Aldean, Maddie & Tae, Luke Combs), Glen Worff and more, resulting in this intoxicating hybrid of Americana-tinged country. 

Born in Jackson, TN and now Nashville-based, Alexander is the voice behind country’s Top 40 men and some of pop’s leading ladies, writing more than 70 hits from acts like Celine Dion (“Didn’t You Know”), Miley Cyrus (“The Climb”), Morgan Wallen (“The Way I Talk”, “Gone Girl”), Blake Shelton (“Mine Would Be You”, “Drink On It”, “Turnin’ Me On”), and Lee Brice (“I Drive Your Truck”) to name a few.

53rd Annual CMA Awards Celebrates The Women In Country Music - Kacey Musgraves, Maren Morris, Ashley McBryde Among Big Winners

The 53rd Annual CMA Awards proved to be an historic night for women in Country Music. Anchored by host Carrie Underwood and special guest hosts Reba McEntire and Dolly Parton, the evening began with a once in a lifetime collaboration led by Underwood, featuring McEntire and Parton as well Terri Clark, Sara Evans, Crystal Gayle, The Highwomen’s Brandi Carlile, Natalie Hemby, Morris and Amanda Shires, Little Big Town’s Karen Fairchild and Kimberly Schlapman along with Martina McBride, Jennifer Nettles, Tanya Tucker and Gretchen Wilson. The sold-out crowd roared their appreciation as the women performed a decades-spanning medley of iconic songs that have become part of the very fabric of Country Music.

Luke Combs and Kacey Musgraves were the nights big winners, each receiving two wins. Last year’s CMA New Artist of the Year winner Combs took home the CMA Male Vocalist of the Year as well as CMA Song of the Year for “Beautiful Crazy,” alongside songwriters Wyatt B. Durrette III and Robert Williford. Musgraves won two trophies—CMA Female Vocalist of the Year as well as CMA Music Video of the Year for “Rainbow,” alongside director Hannah Lux Davis.

Garth Brooks took home the coveted CMA Entertainer of the Year, extending his reign as the most-awarded CMA Entertainer of the Year with seven career wins. CMA New Artist of the Year was awarded to Ashley McBryde, winning for her first ever CMA Awards nomination.

Maren Morris took home her first CMA Album of the Year win for GIRL, alongside producers Greg Kurstin and longtime collaborator busbee, who passed away in September. In her speech, she shared that she’d be remiss “if I didn’t mention a huge facet of why this album sounds the way it does and we miss him so dearly. He texted me the morning we got the nomination for Album of the Year this year and we were so excited and that’s our friend busbee.”

CMA Single of the Year was awarded to Blake Shelton’s “God’s Country,” alongside producer Scott Hendricks and mix engineer Justin Niebank.

Lil Nas X and Billy Ray Cyrus won CMA Musical Event of the Year for their record-breaking hit “Old Town Road (Remix),” along with producers YoungKio, Michael Trent Reznor and Atticus Matthew Ross, all first-time CMA Awards nominees alongside Lil Nas X.

Old Dominion extended their reign as CMA Vocal Group of the Year, while Dan + Shay were awarded their first ever CMA Awards win for CMA Vocal Duo of the Year.

Fiddle player Jenee Fleenor made CMA Awards history, marking the first time a woman received a nomination as well as a win in the CMA Musician of the Year category.

In a year that saw unprecedented exposure to Country Music through Ken Burns’ PBS documentary, “Country Music,” the release of groundbreaking new music and the relentless efforts of Country artists touring the world, this year’s CMA Awards celebrated both the genre’s legends and fresh new faces. Willie Nelson teamed with fellow Texan Musgraves to perform “The Rainbow Connection,” a song Musgraves performed as a child. She even shared a video of an early performance days before the ceremony.

Among the evening’s many highlights was a special tribute to the legendary Kris Kristofferson, the recipient of the 2019 CMA Willie Nelson Lifetime Achievement Award. Dierks Bentley, Sheryl Crow, Chris Janson, Brothers Osborne’s John Osborne and Joe Walsh teamed for a stellar performance of Kristofferson’s classic “Me and Bobby McGee.” Bentley and crew brought the classic lyrics to life yet again through their distinctive vocals and Janson wailed on harmonica.

The CMA Awards have long been known for unique pairings of pop, rock or rap artists with Country Music stalwarts, always resulting in visually explosive moments on stage. This year was no exception. Halsey and Lady Antebellum demonstrated that great songs know no boundaries as they delivered a mashup of Halsey’s “Graveyard” with Lady Antebellum’s “What If I Never Get Over You,” with Hillary Scott and Halsey trading lines at the end in a potent crescendo. P!NK and Chris Stapleton teamed for an electrifying performance of “Love Me Anyway,” which held the audience spellbound as their burlap and silk vocals intertwined resulting in one of the evening’s most affecting performances.

The CMA Awards’ three leading ladies thrilled the crowd with some of the evening’s most memorable moments. Parton joined forces with award-winning Christian music duo for KING & COUNTRY to render an evocative performance of their hit “God Only Knows” and then sang “There Was Jesus” with Christian hitmaker Zach Williams. Her segment ended on a blockbuster note as Nashville’s Christ Church Choir joined the Country legend for a rousing rendition of “Faith.” McEntire belted out fan favorite “Fancy” with all the explosive sass and style long associated with her iconic hit. Underwood took a break from hosting duties to wow the crowd with a sultry performance of her latest single “Drinking Alone,” from her hit album Cry Pretty.

Girl power was evident throughout the night with the ladies of Country Music delivering some of the most talked about performances of the evening. Seated in the midst of the sold-out audience, Kelsea Ballerini delivered a poignant performance of her rising hit “homecoming queen?” and then segued into Little Big Town’s CMA Award-winning hit “Girl Crush” as the mainstage became filled with a who’s who of Country Music’s most exciting young female artists, including Lindsey Ell, Maddie & Tae, McBryde, Carly Pearce and Runaway June. Little Big Town’s Fairchild, Schlapman, Phillip Sweet and Jimi Westbrook took the stage to finish up their groundbreaking hit. After the performance, she introduced every young artist on stage by name and then said, “Ladies and gentlemen, you’re looking at the future of Country Music.”

Although it was a night that celebrated the talented women in Country Music, the genre’s top male vocalists took their turn center stage for some of the evening’s most magical moments. Thomas Rhett delivered a soulful performance of “Remember You Young” from his latest album Center Point Road. As the set glowed with a backdrop of flames, Blake Shelton roared through an incendiary performance of his chart-topping celebration of rural life “God’s Country.” Armed with just a guitar, Keith Urban turned in a riveting performance of “We Were” and in another understated but effective moment, Eric Church shared “Some of It.”

High octane honky tonk fun was also on the evening’s musical agenda. Newly minted Country Music Hall of Famers Brooks & Dunn were joined by Brothers Osborne for a rousing performance of the Brooks & Dunn classic “Hard Workin’ Man.” Combs served up a charismatic rendition of his upbeat hit “Beer Never Broke My Heart.” As the telecast hit the home stretch, Brooks and Shelton had the crowd singing along to their infectious duet “Dive Bar.”

New Music Video From Garth Brooks and Blake Shelton - "Dive Bar"

The Art Of Storytelling In Faulkner County - An Exclusive Interview With Erin Enderlin

Known for a remarkable aptitude at crafting music with character-driven storylines, singer/songwriter Erin Enderlin will unveil her first new full-length album since 2017 with the release of Faulkner County this Friday, Nov. 1.  

Produced by Jim “Moose” Brown, Jamey Johnson and Alex Kline, Faulkner County will cement 2019 as a red-letter year for Enderlin.

The 14-track LP is a masterful ramble through lonely barroom corners and bedrooms, story after story delivered by Enderlin’s impeccable golden-era warble. A stellar supporting cast including Vince Gill, Alison Krauss, Terri Clark, Cody Jinks, Dillon Carmichael and others poured harmonies and soul into the vivid collection, sounding like kindred spirits and close friends making music together for the sheer joy of it.

Enderlin’s fall has been defined by exciting career firsts and incredible momentum. After sold-out shows in her first-ever UK tour, she returned to Nashville to showcase at AMERICANAFEST. She’ll close out 2019 having played more than 100 shows. In June, she took home three trophies at the Arkansas Country Music Awards, including Female Vocalist of the Year and Songwriter of the Year. All the while, Enderlin’s success as a songwriter persisted as musical heroes turned to her for songs. Reba McEntire, Terri Clark, Rodney Crowell, Rhonda Vincent and more all recorded Enderlin-penned gems in 2019.

Enderlin took a minute out of her busy travel schedule to talk with That Nashville Sound about the new project.

Ken Morton, Jr: So, project #3 for you. Give me a little background kind of on a starting place and kind of, you know, how you went around building the album this time around.

Erin Enderlin: You know, I think sometimes maybe it takes a little longer to get my head around something exactly how I wanna do it or maybe if I have the time to put in motion all the things that I want to do— And I just love all these stories and songs. And you know, I went back in with Moose and added some parts and saying everything. And I think it’s a really cool kind of evolution from Whiskeytown Crier. I do feel like there's a strong connection between the 2 albums.

KMJ: I know you are drawn to the story songs and, you know, the kind of plight of the individual in there. Is there some background to your upbringing or your personal likes that kind of have led you to down that path?

EE: You know, I think part of it was the music I grew up on. Have you heard the new Dolly Parton podcast yet?

KMJ: I have not, although I have it downloaded.

EE: The first one is sad-ass songs. And she is talking about her first 4 records and how she influenced by all those storytelling songs. She was like “Oh, I mean, that’s just, you know, what I grew up listening to.” And it kind of, you know, sunk in and start looking at those characters and maybe other sides, other characters that are in the songs, but maybe weren't the main characters in the songs and what their experience was.

KMJ: Do you find there in Nashville, you know, certainly that type of songwriting and those type of songs is swimming a little bit uphill against the stream? Do you find it easier because there's more space or harder because there's so little of that being put out now?

EE: I really feel fortunate to still be making music after being here for 19 years and maybe even more so than ever before, making music that I absolutely love. So, maybe I'm just a little bit too narcissistic to know that. You know? Like I’m happy for everybody to do whatever they wanna do. And this is what I wanna do. So, I think there’s space for everybody. And you know, honestly, I haven't really been in Nashville nearly as much the last couple years. I’ve been on the road so much. I just played my 100th show of the year this year and the crowd that I've been playing for just been all so awesome and receptive, but it seems like there's a real hunger for that sort of thing.

KMJ: Sure. And it seems like you have surrounded yourself with, you know, artists that recognize the specialness and the character storytelling too with— and maybe kind of some more mature artists that are cutting your stuff that, you know, grew up singing that type of music as well.

EE: For sure. And I think everything goes in cycles. And I feel like I'm tapped into something. Listening to that Dolly episode too, it’s like it’s a really old tradition I think. And obviously, I have my own thing that I do, but I think I’m kept into something that’s been around for a long time. So, I don’t think it’s going anywhere. You know, I’ve been so excited to see the Ken Burns special and see what that’s doing. You know, I’ve been talking to the Ernest Tubb Record Shop and they’re just like “Man, ever since they started airing the Ken Burns, they’ve just—” You know, they have a pretty good traffic down there anyway, but it's just been multiplied.

KMJ: That’s fantastic.

EE: And I think it’s gonna bring a different set of eyes to it to a different set of country music fans. And I think I'm really excited about that because I think also guarantee you there's gonna be kids, you know, 13, 14, 15 really getting into their own of like finding their passion for music. They’re gonna watch that and they’re gonna fall in love with the Carter family, you know? They’re gonna fall in love with Johnny Cash. And they're gonna start putting their own spin on that type of music. So, I think we're gonna see that influence grow. And there’s a ton of artists that are coming out right now that have more of those  same influences too that are starting to have a little impact on folks listening.

KMJ: Yeah. There’s no doubt about that. I love some of the more classical, you know, neo traditional influences that are coming back into country radio a little bit. But I think they’re opening the door for artists like yourself to really bring back some of the more traditional themes of music as well.

EE: It’s been an exciting couple of years I think in country music. There's been so much. Just music that gets me excited, you know, like I love Randy Houser’s new record he put out this year.  

KMJ: Yup. I agree. Specific to your album, the way you went about releasing it was a little different this year with the multiple EPs. Can you maybe walk me through that a little bit and then maybe kind of what you learned through that process versus releasing it all collectively at once?

EE: I’m willing to try something a little different. You know, one thing as an artist, you put out an album and you work that album for a long time. And I thought it would be cool to kind of be able to take it a little bit differently because, you know, sometimes you put out an album and I feel like sometimes you lose some of the songs on that. They maybe get lost in the shuffle a little bit. And I felt like being able to put out a couple of songs at a time it gave me more of a chance to really, you know, be excited and give that little back to the song, their own spotlight. And also, going out to play shows and everything like that, it was fun to have new music constantly, to have something new to share with the crowd.

People are listening to music differently too. And I wanted to tap into that new genre. So, I’ve been really lucky that the label’s been really supportive of what I’m doing and they had suggested trying— you know, just mix it up. Trying some different things that you’re not necessarily boxed in to, okay, you have to release music just like this anymore. You know what I mean?

KMJ: Totally. Blake Shelton just said, you know, he’s not positive he’s going to release any more albums. Doing like you’ve done these 3- to 4-song releases will allow him to release them as frequently as he wants and really he's finding it kind of freeing a little bit.

EE: I think it's cool. It's an experimental time. And I think it's always interesting. There's definitely been some different parts of technology that have been challenging for musicians and artists the last couple of years because it’s all changing so fast and being able to acclimate to that, but I think it's also starting to open up a different kind of creativity and different ways to express yourself that I'm excited about. I'm excited about the thought that I could find a song that I just really, really love and I want to do it and I don't have to wait, you know, 2 years to be able to go in and record it and share it with my band.

KMJ: Whiskeytown Crier was such a cohesive collection of songs. Does the thought of doing it in piecemeal or doing it as you have done it little pieces at a time make it any more or less difficult, you know? Because I know how passionate you are about albums as they are. Does it make it that harder to do?

EE: I mean, it’s different. But I think it also maybe you get to experiment more. This is to say, you know, for my next album I can go in and cut 3 songs, really live in those songs, start playing them out, being out there and have that kind of— inspire more of the album.

So, maybe you kind of get to live in both worlds, have your cake and eat it too where you get to release songs more frequently in different ways.  But then also to create these arts, more of like complete cohesive piece that you put out.

KMJ: The more frequency of new music is exciting and I know for me these 3 songs at a time that you’ve been releasing have always left me wanting more and anticipating the next release of three more.

EE: Good.

KMJ: Specific to songs, is there any that have been early favorites of yours or ones that resonated more with you? I know they're all your babies, but any more that you feel that hold some iconic nature to you as you’re playing them out on the road?

EE: Yeah. You know, “Tonight I Don’t Give a Damn” has been really cool for several reasons. That song is up to 600,000 streams now on Spotify, which is cool because I’ll go out and play in a new market where I don’t know people and people I can hear them singing along with that song. And that's been really cool.

KMJ: Any other songs come to mind that you love?

EE: I’m really interested about “The Queen of Marina Del Rey.”  I feel like that is like a full length Hollywood movie. And so, there’s so much happening. So, I think it will be cool to see what happens with that one.

KMJ: Talk to me about your work with Alex Kline.

EE: Yes. So, Alex produced two of the tracks on the album, which was cool. And you know, we’re friends- but it’s fun to work together because we both know we're going for the same goal. You know, we’re like sisters almost because we can be very direct about like “This isn’t working like what do we do here?” And it’s just like we’re both aware of what’s happening in the moment. She’s so talented and I really think she’s starting to get her spot in the spotlight.

KMJ: I’m excited. We need more female voices at that level and I agree with you. She’s got it. She comes from a really unique space and how she approaches that and everything that she touches.

EE: Yeah. And she’s such a great musician too. It’s interesting because we come from different worlds in terms of our biggest influences and things. So, I think sometimes she challenges me in ways or have ideas about stuff that I definitely wouldn't have thought about, which is cool.

KMJ: I would guess from the outside looking in, you approach it from the standpoint of a lyricist and storytelling and Alex probably approaches it more from the music and melody side. Would that be accurate?

EE: Yeah. She’s very, very good at being able to plug in to an artist to kind of, you know, see how she can that what she does and amplify where the artist is at.

That’s, you know, something that I'm not always necessarily super great at and sometimes intimidating to me- especially going in to write with an artist. I tend to be more excited about an idea. I try to write the best song in the room, but I don't know that I’m necessarily as good about, you know, from the outside kind of getting that structure, having that idea of where it needs to go to sit with that particular artist if that makes sense.

But Alex can kind of like put her different artist hat on.

KMJ: I know you have a number of special guests that are certainly worth mentioning on this project as well.

EE: Well, you know, I guess it's funny. I grew up listening to country music, listening to it almost exclusively. And it felt like it was a family. It felt like, you know, a front porch.  There was this sense where everybody works with each other and there’s stuff like sharing, collaboration, and different styles coming together. And I really enjoy that. I really enjoy getting to work with different musicians, and singers, and artists. I love what they do too and kinda have that collaborative spirit. Whatever gets you through the night. I put on Dillon Carmichael and I think he is just one of the best new artists out there right now. I love what he’s doing.

KMJ: I wholeheartedly concur with you. That collaboration is awesome.

EE: And Melonie Cannon sing on a bunch of stuff and I love her. I call her a country music alien because I don't know how she does what she does with her harmony. It’s what she does and I love it, but it definitely can be from a different planet. It’s so great. And you know, having Alison Krauss and Vince Gill on a song was incredible. I got to go to the studio when Vince was singing and it was really cool to get to see that. And then of course, Terri Clark sings on one of the songs. I mean, I put it in the kind of thank you section to this record, but Terri has done a big part of me even putting out Whiskeytown Crier and then coming to this album. I think I was in an interesting place and really questioning kind of what I was doing, and if I was on the right track, and if there was a space for me in music around the time I started writing with Terri. We’re writing together, started doing demos of it and talking about putting it on a record. And it kind of gave me the confidence to be like “You know what? Yeah. Like somebody that I bought all their records growing up like we’re writing together and putting on a record like I wanna take another shot with this. I wanna try and figure out how to make this work and put it all together.” And that was really the impetus for me starting to try to figure out how to do a budget for Whiskeytown Crier, how to find a team to help me put that out and start touring more and figure out that whole thing, which obviously led to Faulkner County. So, it was really, really cool to have her come in and sing on one of the songs for this album too. I have 7 Terri Clark cuts now.

KMJ: That's amazing. As we're talking about influences, we’d be remiss in not talking about the influences that Jamey Johnson and Moose Brown have had as well.

EE: Jim is like probably the most talented person I’ve ever met in this role. He has so many facets to his talent from playing to writing to producing. And he really took so much care and so much time with these records to make sure they were right.

And Jamey, he is everything that I love about a country music artist. He wants to feel it. He wants the music to kick him in the chest and make him feel some pain. And at the end of the day, that’s what he cares about. So, I think it was really cool to have him in the studio also be a part of the process ‘cause I feel like he was always this barometer also of making sure that you stay at that home plate. You’re not thinking too much about the next steps- like what would be in the radio, what would make a good video, what would be good to play in shows or whatever. So, it’s just really focused on feeling something with every song.

KMJ: What is country music to Erin Enderlin?

EE: To me, I think, you know, country music is something that real people can plug into about real things going on in their life.  Whether it’s falling in love, or losing somebody you care about, or a drinking problem, or just needing to escape your job. They are real world things that make you feel something.

New Music Video From Blake Shelton - "Jesus Got A Tight Grip"