Nashville Music Scene , Concerts and Events | Music City Nashville

Win George Strait’s New CD!

Jerry Holthouse — Thu, 23 May 2013 03:45:30 +0000

The last few days have been pretty cool for George Strait – since Saturday, the man has celebrated a birthday, scored his 60th number-one hit, and now tops the country album chart with his new release, Love Is Everything! This latest accomplishment is pretty substantial – consider this: Love Is Everything is King George’s 25th number-one country album, and the runners-up in the record books on that front are Willie Nelson and Merle Haggard, who’ve each topped that chart 15 times. What’s more, this is George’s 18th Top 10 album on the overall Billboard Top 200 Albums chart (where it debuts at number-two). Only three other male artists – Frank Sinatra, Elvis Presley and Bob Dylan – have scored more Top 10 Billboard albums. That’s some pretty impressive and revered company, to say the least!

We have a copy of Love Is Everything to give away. All you have to do is write “Let’s make it 61″ in the comment box below and a winner will be selected at random.

Toby Keith: ‘Mother Nature Is Hard To Tame’

Jerry Holthouse — Wed, 22 May 2013 20:29:09 +0000

Brad Paisley Hits The Top Of The Renegade Radio/Nashville.com Chart

Jerry Holthouse — Tue, 21 May 2013 11:14:30 +0000

Brad Paisley claims the number one spot this week on the Renegade Radio/Nashville.com Chart with with “Beat This Summer” (Arista). Josh Pruno slips down to the number two position with “23 Psalm” (Lawrence Music Group) and John Karl hits the top three with “That’s What I Believe” (Pourboy records).

Check Nashville.com every Friday for the latest Renegade Radio / Nashville.com Hot 40 Countdown and don’t forget to listen to Renegade Radio Nashville and Captain Jack while you’re checking it out or just keep it on all the time like we do!

Nominees Announced For 2013 Americana Music Awards

Jerry Holthouse — Tue, 14 May 2013 21:47:15 +0000

The Americana Music Association announced nominees today for the 2013 Honors & Awards in Los Angeles at the Grammy Museum®. The ceremony featured performances by now nominated artists Buddy Miller and Jim Lauderdale, T Bone Burnett with Lisa Marie Presley, Elizabeth Cook and The Milk Carton Kids. The program was broadcast live on AXS TV, who will present a special encore presentation of the event later this evening at 9PM ET/6PM PT.

Shovels & Rope, with four nominations, followed by Emmylou Harris and Miller, with three each, lead the nominee slate while many other notable artists were recognized including: Rodney Crowell, John Fullbright, Lauderdale, The Lumineers, JD McPherson, the aforementioned Milk Carton Kids, Bruce Robison & Kelly Willis, Richard Thompson, and Dwight Yoakam. Winners will be announced live at the annual Americana Honors and Awards, presented by Nissan, on September 18th live on AXS TV from the historic Ryman Auditorium in Nashville, TN.

Today’s celebration in Los Angeles kicked off with an Americana tribute to George Jones featuring Buddy Miller and Jim Lauderdale leading their all-star band comprised of Fats Kaplin, Brian Owings and Jay Weaver. The music continued with performances by Lisa Marie Presley with special guest T Bone Burnett, Elizabeth Cook and the Milk Carton Kids.

Burnett, who produced Americana masterpieces ranging from “O Brother, Where Art Thou?” to the Americana and Grammy award winning “Raising Sand” by Alison Krauss and Robert Plant, spoke to the Clive Davis Theatre audience about the genre that honors the roots of American music that has grown to prominence in recent years.

This year the nominees reflect the diverse and artistic breadth of the genre, where legends and the next generation of stars share the stage.

2013 AMERICANA HONORS & AWARDS NOMINEES

ALBUM OF THE YEAR
Buddy & Jim, Buddy Miller & Jim Lauderdale
Cheater’s Game, Kelly Willis & Bruce Robison
From The Ground Up, John Fullbright
O’ Be Joyful, Shovels & Rope
Old Yellow Moon, Emmylou Harris/Rodney Crowell

SONG OF THE YEAR
Birmingham – Shovels & Rope
Good Things Happen to Bad People – Richard Thompson
Ho Hey – The Lumineers
North Side Gal – JD McPherson

ARTIST OF THE YEAR
Buddy Miller
Dwight Yoakam
Emmylou Harris
Richard Thompson

EMERGING ARTIST OF THE YEAR
JD McPherson
John Fullbright
Milk Carton Kids
Shovels & Rope

DUO/GROUP OF THE YEAR
Buddy Miller and Jim Lauderdale
Emmylou Harris and Rodney Crowell
Kelly Willis and Bruce Robison
Shovels & Rope

INSTRUMENTALIST OF THE YEAR
Doug Lancio
Larry Campbell
Greg Leisz
Jay Bellerose
Mike Bub

“Paperboy” Speaks Volumes About Stuttering And Great Storytelling

David — Tue, 14 May 2013 21:04:26 +0000

In the summer of 1959, country singer Mel Tillis—a stutterer since childhood—was enjoying a hit song with “Finally,” a tune that would eventually help propel the young singer/songwriter to Grand Ole Opry membership, a National Medal of Arts and inclusion in the Country Music Hall of Fame. But while things were going well for one stutterer in Music City, across the state in Memphis, another stutterer—an 11-year-old boy who didn’t have the luxury of incorporating his speech impediment into his “act”—was having a much tougher go of things.

Paperboy, the mostly autobiographical first novel by Memphis native and life-long stutterer Vince Vawter, chronicles the momentous events in the life of “Little Man,” a fastball throwing kid who takes over a buddy’s paper route for a month and narrates through the keys of his manual typewriter—his only outlet for fluent communication—as he takes the reader on a sometimes painful journey through his struggles with stuttering and a summer of discovery. For those who speak with ease, it’s difficult to imagine the unabated anxiety and, yes, fear that can be the stutterer’s daily companions. That’s especially true for a child who knows he looks like everyone else and appears to be like everyone else—until he opens his mouth to speak.

Then he is hugely different in ways that bring confusion and pain those who speak fluently will never really understand. For Little Man, every sentence uttered throughout every day can be traumatic. So much so that, as Vawter admits doing in real life, he would sometimes squeeze a thumbtack into his palm when trying to give a book report or read aloud in class, in hopes that the pain of the tack would distract him from the pain of trying to talk. Bloody hands are a high price to pay for trying to tell the class about Robinson Crusoe.

Through forced interaction with his paper customers—money has to be collected face-to-face—Little Man (we eventually do learn his real name) confronts the realities of alcoholism and abuse, befriends a deaf child and learns through erudite world traveler Mr. Spiro that real truth can often best be found in fiction. This is also the summer when Little Man learns a deep family secret that will cause him to love his accountant father even more.

Set in Midtown Memphis, Paperboy, pulls no punches as it illustrates the racism of the late-‘50s South and shows through the black character of “Mam,” the family’s cook and housekeeper, how one can behave with dignity and character in times that could use much more of both. In the book, Mam is Little Man’s confidant and best friend and is there to offer comfort when needed, plus far more tangible help through a terrifying confrontation with a junkman who has taken Little Man’s yellow-handled knife. Speaking with affection of the real “Mam” in his family’s life, Vawter says she was far less a housekeeper and more a “soul keeper.”

Which leads to an underlying theme of the book. The people about whom Little Man cares the most are those who don’t necessarily share his DNA. Being biologically connected is no more a guarantee of a loving relationship than difference of skin color is a guarantee of animosity. It was true in 1959 and it’s true today.

Paperboy undeniably addresses some gritty themes, but it is also at times funny and uplifting and is wonderfully descriptive of both 1959 Memphis and the people who populate it. Although directed primarily at young readers 12 and over, it is absolutely appropriate and a great read for older readers, many of whom will recall with a smile a time when, as Little Man did, a kid could entertain himself for hours by bouncing a ball off the garage door back to his waiting glove. No video games required.

While most of the plot lines in Paperboy are resolved quite nicely by the end of the read, there is one story line left at loose ends: what happens to Mr. Spiro? Asked if that lack of resolution means there just might be a sequel in the works, Vawter, now retired after a 40-year newspaper career, responds that Mr. Spiro’s story wasn’t buttoned up for that very reason.

“My agent says that readers will let me know if they want a sequel,” he smiles. As far as this reader is concerned, it’s time for Vawter to drag out the typewriter again. The world could use more of Paperboy.

(Note: Reviewer David Scarlett is Vince Vawter’s cousin and has picked with him in a family bluegrass band, but wouldn’t lie for him if the book weren’t great!)

Trace Adkins’ New “Love Will” Is The Latest Gem In An Amazing Career

David — Mon, 13 May 2013 19:29:22 +0000

One of the most glaring dichotomies in all of country music is how someone as big as Trace Adkins—big voice, big personality, big heart, big talent, big patriotism, big career achievements, big ambassador for the genre, big work ethic and big physical presence—can be so hard to find each year when award shows roll around. Having performed some of the most memorable hits in the past 15-plus years, Adkins has one of the few instantly recognizable voices in country music. He has used that incredible instrument to poke fun with “Honky Tonk Badonkadonk,” touch the hearts of parents everywhere with “Then They Do,” “You’re Gonna Miss This” and “Just Fishin’,” give honor and praise to our military with “Arlington” and “Til the Last Shot’s Fired,” turn a powerful spotlight on personal demons with “I’m Tryin’” and “Sometimes a Man Takes a Drink” and crank up the romantic heat with “Hot Mama,” “This Ain’t No Thinkin’ Thing” and “Chrome.” He’s also a convincing actor, author, TV host and great family man and has visited our troops here and in the Middle East on numerous occasions. Nope, not much worthy of awards in a career like that.

Fortunately for Adkins’ legions of fans, the imposing singer is more concerned with putting out excellent work than with being lauded for it. And he’s done it again with the release of his 11th studio album, Love Will, which hits the street tomorrow. The 11-song collection of tunes views love from varied emotional perspectives ranging from the noble to the sultry and from the loyal to the spiritual. While the record’s first single, “Watch the World End,” features Colbie Caillat in a stirring ode to the commitment of a couple to each other no matter the circumstances, the gorgeous tune is far from the CD’s only highlight. Adkins is joined by country rockers Exile in a great reprise of the group’s 1978 worldwide hit “Kiss You All Over” that captures all the sexual heat of the original with the bonus of Trace’s powerful low-end vocal. The album’s title cut features a soaring performance by the Harlem Gospel Choir offering spine-tingling support as Adkins sings that true love can say what we can’t, find common ground when we can’t and do the right thing when we all-too-often can’t bring ourselves to do it. Great sentiments and a powerful performance.

“Come See Me” features Adkins delivering a sultry tune as only he can, but just when you think he’s shown you most of the exquisite vocal moves he has to offer, Trace unleashes a soaring falsetto that perfectly extends the invitation to Come See Me, I’ve got everything you need. Great romantic tune and perfect for parking the car, turning on the radio and slow dancing in the moonlight.

But as good as the rest of the record is, three songs deserve special attention, because for those who have met Adkins’ loving wife, Rhonda, it’s hard to imagine her not being front and center in the singer’s mind as he performed “The Alter of Our Love,” “If The Sun Comes Up” and “Say No to a Woman.” In “Alter,” Adkins sings convincingly of Somebody who believes in you enough to help you fight your demons, and Rhonda has definitely been that someone for the singer during his own personal struggles a few years back. In “If the Sun”—this writer’s personal favorite song on the CD—the heartfelt message to the woman in the singer’s life is to go on livin’ don’t stop lovin’ . . . if the sun comes up without me tomorrow. Adkins gives an emotion-packed vocal performance, and the nobility and love in the lyrics are conveyed in a way that only he can. A gorgeous melody and great sentiments.

In “Say No,” Adkins sings of all the things he wouldn’t have done and wouldn’t have become if he could say no to a woman. When he sings, she saw me better than I thought I was. She offered her heart and all her love, you know that’s exactly how he feels about what the love of his life has done for him. There was greatness inside him all along, but she helped him find it and believe in it. And fans everywhere are more than grateful that she did.

Love Will Full Track Listing:

1. When I Stop Loving You

2. So What If I Do

3. Come See Me

4. Right Now

5. Every One Of You

6. The Altar Of Your Love

7. Kiss You All Over (Featuring Exile)

8. If The Sun Comes Up

9. Say No To A Woman

10. Watch The World End (Featuring Colbie Caillat)

11. Love Will (Featuring Harlem Gospel Choir)

The Value of a Good Mix

cliffgoldmacher — Mon, 13 May 2013 19:06:25 +0000

The Value of a Good Mix

Once you’ve decided to up the ante and put your music online for the world to hear, it’s in your best interest to pay close attention to every step in the recording process. One of the most vital of these steps is the mix of your song. It’s not enough to have a great song. You need a great recording and a strong mix is an essential part of any great recording. The art of mixing (and make no mistake, it is an art) is not a skill everyone possesses. It’s well worth your while, even if you’ve recorded your tracks yourself in your home studio, to seek out an experienced mixing engineer. While there is no substitute for a dynamic, exciting musical performance, a good mix can enhance every aspect of that performance so that the final sonic result truly makes your song stand out. On the other hand, a poor mix can severely compromise even the best song and performance. Only you can write and sing your songs. That makes you an expert in those areas. However, unless you’re also an expert mix engineer, I’d highly recommend going to someone who is.

Budget

I get it. Everyone wants to save money. I do, too, but there are places to save and places to invest. In an effort to keep recording costs down, many musicians have purchased their own recording equipment. This is terrific and there’s never been a better time to buy affordable, high-quality gear. As long as you’re as passionate about learning the engineering process as you are about your music, you’ll do great. Owning your own recording equipment also takes a lot of the pressure off when it comes to experimenting in the studio. Finally, it allows you to record as many takes as necessary to get the performances you want without worrying about the clock. However, one way to make the absolute most of your recorded performance is to let an expert mix them. It’s amazing what a talented, experienced mix engineer can bring out of a mix that might otherwise get lost or obscured at the hands of a less able mixer.

Before You Mix

Before I cover in greater depth what makes up a good mix, let’s go back to performance for a moment. No matter how great the mix engineer may be there are some things you simply cannot fix in the mix. To be more specific, there is no way to “mix in” a great vocal or instrumental performance. What makes a performance great might surprise you. For example, sometimes it’s what you don’t play that counts the most. In my experience, the best studio musicians are the best listeners. What I mean by this is that great players base their instrumental performance on whatever else is going to be played in the song so that all the instruments work together as a whole to serve the song and NOT their individual egos. Playing too much is the hallmark of an amateur studio musician. Secondly, the timely use of dynamics (where to play louder/softer or with greater/less intensity) is essential to a mix that breathes and has shape to it. Simply moving up and down a volume fader won’t do the same thing. When it comes to singing, all the Auto-Tune and reverb in the world won’t give a vocal performance real sincerity and emotion. All this to say, make absolutely certain that the performances are exactly how you want them before you start the mix process.

The Instruments

Getting great instrument sounds in a mix is a combination of many factors. Finding space in the mix for each individual instrument is essential. This is often achieved through judicious use of EQ, compression, volume and panning. For example, the skill it takes to get great drum sounds, marry the kick drum to the bass while also giving the electric guitars rooms to breathe and sparkle is developed over time and repetition…a lot of repetition. When this is done properly, the instruments are exciting to listen to. Each has its place and role to play and when they come together, the song takes on a life of its own.

Vocals

A great mix engineer always makes the treatment and placement of the vocal a priority. Once the instrumental mix is generally where it needs to be, it’s time to make certain that the vocalist is running the show. A combination of EQ, compression, tuning (if necessary), effects and volume fader automation should all serve the ultimate goal of making it sound like the singer is in charge. There are several risks associated with improper vocal placement. If the final mix has too much vocal, then the instruments end up sounding small and weak. However, if the vocal is too soft in the mix, it loses its ability to communicate the emotion of the song. Every genre has its preferred vocal level. In general, pop music has the vocal more integrated into the instruments whereas country music (with its emphasis on the lyric) generally puts the vocal higher in the mix. There are, of course, exceptions to every rule but a good mix engineer will know the genre he or she is mixing in and do the right thing for the song.

On a related note, one of the best reasons to bring in an experienced mix engineer even if you’ve recorded the song yourself is a fresh, objective set of ears. It’s been my experience that if the singer mixes their own project, they tend to keep the vocals too low for a couple of reasons. One is that most singers tend to get uncomfortable with their vocals up in a mix. There are precious few singers I’ve ever worked with who genuinely love the sound of their own voices. By keeping the vocal low in the mix, the vocalist/engineer won’t have to their comfort zone but the mix suffers. The second reason has to do with the fact that the singer already knows the words and assumes that they’re hearing the words when, in fact, they may be too low for someone who doesn’t know the song to understand.

Mastering a Good Mix

Mastering a mixed recording is a separate skill altogether. While this isn’t an article about mastering, I’d recommend using a dedicated mastering engineer (not your mix engineer) when it comes time for this step. More to the point, the value of a good mix is that the mastering engineer will spend much less time (their hourly rates are generally higher than mix engineer rates) getting the finished master together. In other words, money you spend on a good mix will end up saving you money on a final mastered recording.

Doing It Yourself

If you’re still intent on doing your own mixing, consider hiring an expert to mix a song or two for you and then ask them for the session files back. Assuming you’re using the same recording software (i.e. ProTools, Nuendo, Logic), you’ll be able to examine every detail of how the mix was done and use the finished mix files as a kind of tutorial so you can ultimately learn to do them yourself.

Good luck!

Bio

Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter including monthly online webinars. Go to http://www.educatedsongwriter.com/webinar/ for the latest schedule.

Cliff’s company, http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos.

You can download a FREE sample of Cliff’s eBook “The Songwriter’s Guide To Recording Professional Demos” by going to http://www.EducatedSongwriter.com/ebook.

Facebook: www.facebook.com/EducatedSongwriter

Twitter: edusongwriter

Jennifer Nettles Introduces Son Magnus

Jerry Holthouse — Mon, 13 May 2013 15:17:06 +0000

Sugarland singer Jennifer Nettles shared a photo of her 5-month-old baby boy, Magnus Hamilton, on her website Sunday. He was born December 6, 2012. “I have appreciated all of your supportive messages and tweets as I have been giving myself the space to enjoy this most sacred, precious time. However, I am also bursting at the seams with pride! And so, it gives me great pleasure to say to you, Meet Magnus.

Josh Pruno Hits The Top Of The Renegade Radio/Nashville.com Chart

Jerry Holthouse — Sat, 11 May 2013 06:04:35 +0000

Josh Pruno claims the number one spot this week on the Renegade Radio/Nashville.com Chart with with “23rd Psalm” (Lawrence Music Group). Phil Vassar holds on tight to the number two position for the second week in a row with “Love is Alive” (Rodeowave Entertainment) and The Band Perry slip from number one to the number three spot with “Done” (Republic Nashville).

George Strait On Writing, Recording and Touring

Jerry Holthouse — Fri, 10 May 2013 15:17:41 +0000

George Strait will release his 40th studio album, Love Is Everything, on May 14 on longtime label home MCA Nashville. The King of Country music rejoined veteran producer Tony Brown to co-produce the album, which features 13 new tracks, including the lead single “Give It All We Got Tonight.” Strait co-wrote three songs alongside his son Bubba Strait and legendary songwriter Dean Dillon on Love Is Everything including “That’s What Breaking Hearts Do,” “The Night Is Young,” and “I Believe,” in addition to a self-penned track “I Just Can’t Go On Dying Like This.” Love Is Everything will be available in stores and at all digital retailers. George loves the whole process of making music, from start to finish and he talks about that on the video below.