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Stacy's Music Row Report  All Rights Reserved

Column's congratulations to JOHNNY COUNTERFIT, cast as an announcer introducing LORETTA LYNN  (played by JESSIE MUELLER ) in the forthcoming flick, Patsy & Loretta, premiering  October 19, 2018 at 8 p.m. Eastern Time on Lifetime.


From the Music Row Report  job bank: SONY/ATV Music is seeking to fill a Coordinator, North American Copyright position.  For a full list of responsibilities and application information for this full-time Nashville-based position, contact me. 


October, 2019's email contains JEREMY WESTBY's invitation to attend the OAK RIDGE BOYS October 4, 2019 news conference in Tulsa as the quartet unveils a public service announcement; part of a social media campaign calling attention to attempts to defraud the elderly, while BEV MOSER has requested my backstage presence at the annual DOTTIE WEST (posthumous) birthday bash (benefiting the Nashville Musicians' Association's Musician Emergency Relief Fund), this year on October 9th at 3rd and Lindsley.

Since this year the West birthday bash honored BILL ANDERSON, it was only fitting that Bill's musical legacy be acknowledged.  Anderson, still  actively performing less than a month before his 82nd birthday, was perfectly capable of performing- and did perform- his own songs but Bill watched in appreciation as TIM ATWOOD treated the crowd to his version of the Anderson-penned, VINCE GILL hit, Which Bridge to Cross (Which Bridge to Burn).

Before the show, Tim told me that his fourth album It Matters To Me is about to be released.

Also during the time set aside for backstage interviews prior to show time at the West tribute, after receiving a hug from the multi talented PETER COOPER (another of the evening's performers) I spotted JIMMY CAPPS.

I told Jimmy how much I enjoyed reading his recently-published autobiography  (ghosted by SCOT ENGLAND) and Capps told me that he had known Dottie since she sang in a house band long before West became a star.  That memory was not Jimmy's favorite.  As he put it:  "If you read my book then you know my favorite Dottie West memory."

This is true.  Capps, noting that he played on "all of Dottie's duets with KENNY ROGERS and on all of her solo albums," backed up all of the stars in this West birthday bash tribute lineup, including his wife, MICHELLE

During yet another pre-show interview, Dottie's granddaughter, TESS FRIZZELL (ALLEN FRIZZELL's and SHELLY WEST's daughter),  gave me the scoop that she would be singing her grandmother's sassy hit, Lesson in Leavin'  with Dottie's original backup singers, NANETTE BOHANNON and VICKIE CARRICO.

Tess' favorite memory of her grandmother was not the photo I took of the two backstage at the Grand Ole Opry a week before Dottie was tragically killed in a wreck en route to the Opry (she'd never seen the unpublished photo), but of Tess' first national TV appearance.

Ironically, millions will remember the event, but, strictly speaking, not Tess, a native Nashvillian, who was only a day old at the time.  For Shelly having not yet given birth when Dottie left for Los Angeles to host the 1982 Academy of Country Music Awards.

That meant Dottie's first glimpse of her granddaughter came when a videotape of Shelly holding Tess to the camera from a hospital bed was rushed so that Tess' national network TV debut, and resulting emotional surprise for her first-time grandmother, was available by airtime to be incorporated into the "live" ACM Awards show!

After I spoke briefly with birthday bash sponsor GUS ARRENDALE,  about the joy that he receives from traditional country music and helping the Musicians' Fund (joking with him about Vice-President MIKE PENCE's touring Tyson Foods' Nashville processing plant a couple of days earlier), the Springer Mountain Farm president was clearly dreaming big when I suggested that next visit Springer Mountain Farm's headquarters. 

His response?  "Yes, or even President Trump!"  (BTW, Gus, thanks for the unsolicited gift of high-dollar Springer Mountain Farm coupons.)

Arrendale's company's three-year West birthday tribute sponsorship is equaled only by JEANNIE SEELY's three-year tenure as host of the show.  In fact,  Dottie's birthday tribute show exists because of Seely's effort to honor her friend in that manner, not to Jeannie and RON HARMON's tireless campaign to right a wrong that ended only when West was finally inducted into the Country Music Hall of Fame.

Jeannie stressed that, unlike the Grand Ole Opry Trust Fund (of which she is also a tireless supporter) and MusiCares, the Musicians' Fund enables a musician in need to receive a check "right now."  She adds that people should realize that even if a musician becomes sick with the flu,  which could be, as it is with non musicians,  a pretty common occurrence, "it could mean the end of a tour." 

Seely added that apart from sporadic individual donations and the union itself, proceeds from Dottie's birthday bash keep the musicians' fund afloat as its primary source of income: "There's no other outside funding of this magnitude."

During the show, Jeannie performed, sang background and led the crowd in singing Happy Birthday to Dottie.  Egos, to a large extent, were checked at the door.   KELLY LANG cheered T.G. SHEPPARD on as he summed up the evening's vibe, singing his hit, Party Time with RUDY GATLIN (one of the evening's auctioneers) singing backup, while JOHN RANDALL (who sang Whiskey Lullaby) took a turn backing Peter Cooper's performance of 3 A.M.

Why even BUDDY CANNON and his wife, MELANIE sang backup for JAMEY JOHNSON.

Surprises included MO PITNEY's filmed tribute to Bill Anderson and and performances by JOHN SCHNEIDER and STEVE DORFF.

DAVE POMEROY noted that the Musicians' Emergency Fund is able to make individual grants for up to $2,500 and, thanks to the collectively generous funding, the "third largest union in the United States, despite Tennessee being a right-to-work state" has distributed more than $409,000.

The auctioning of three celebrity-signed guitars and posters, along with the evening's ticket sales, have already added $28,000 to the emergency fund's coffers with, according to Bev Moser, an "exact amount still being counted as last minute donations came in."


Reaction to KEN BURNS' Country Music has resulted in a spike in music sales of several of the artists featured in the documentary and an anticipation of a boost in tourism by those who are attuned to such possibilities, coinciding with the September 2019 publication of  Country Music: An Illustrated History.

No doubt Nashvillians who were in agreement with the tax incentives provided Florentine Films feel vindicated; that Music City has and will continue to receive its money's worth- and more.

The May 23, 2016 announcement of the funding, in an unspecified amount, resulted in my publicly-stated opposition to the move, given that these incentives were "proposed after Burns committed to produce a country music documentary."

In a Letter to the Editor a tennessean.com copy editor chose to title Burns should seek balance for documentary, I went on to write "It is impossible to cover country music's history without covering the tax-exempt lobbying organizations that have shaped it- and not always for the better. 

"Burns can't do that unless he is directed to knowledgeable sources, which would be counterproductive to the desires of not only the mayor's office and Nashville Chamber of Commerce, but, more importantly, to the Country Music Association and the Country Music Hall of Fame...

"Word is Burns is already being led by the nose as he navigates what, for him, are uncharted waters.  He's not receiving production incentives without the expectation of further control over the project."

I suggested that Ken Burns and his production team "will retain their integrity and resist such temptations if they understand the manipulation and actively seek out voices to balance the agenda-driven recommendations they assume they're receiving in good faith."

At the time I wrote those words I was the same big Ken Burns fan I remain today and was frustrated by my inability to obtain direct contact information to inform Burns (or someone else involved in the production) of same, as well as my interest in serving as one of the series' advisers given the knowledge I've accumulated over my five decades of observation and involvement; my tenure as the "Doyenne of Music Row."

When I heard that interviews for the series had begun, I latched on to a couple of names and, on September 26, 2017 I sent a generic email with the names KATY HAAS and CHRISTOPHER DARLING in the subject line, sent to their attention requesting corresponding email addresses. Receiving no response, but not sensing time constraints, having heard no more about the project from anyone, I waited awhile before asking an industry colleague, whose interview had just been filmed, for a better email address for Haas, with whom she had worked. (Any footage obtained was ultimately not used and- unless I missed it- as the credits rolled each time over successive installments of the series, my associate never received any credit; an omission not remedied in the acknowledgments nor index found in Country Music: An Illustrated History - the hardcover book based on the series).

Once the industry veteran gave me Katy's direct email address I used it to contact the series' associate producer on September 4, 2018.

Having yet to received a response to that email, on September 26, 2018 I reluctantly used another generic email address.   It was at that point that I first heard of DAYTON DUNCAN- the person whom I should have contacted all along!

Dayton (as my fellow native Midwesterner prefers to be addressed) was responsive from my first contact.  Unfortunately, by the time I was able to reach him, in February, 2019, Duncan informed me that production had concluded.

But Dayton saw the value in copying JOE DePLASCO, "which has handled the promotion of our films... He can provide you with a fuller description of the film."

Maybe so, but DePlasco chose not to, so I was glad when Dayton gave me permission to quote him as we continued our email correspondence in advance of the country-music series airing. 

Anticipating the criticism that come from those who were not aware of the writer's (and production company's) self-imposed limitations on the scope of the documentary, Dayton clarified that the series was "eight episodes. 16 and a half hours in length and it covers the history of the music from its roots to the late 1990s.

"We're historians and not journalists, so for a series like this (as with Jazz, Baseball, and even National Parks) we need to have a better feel between what might seem popular and important in moment, versus what emerges as the important milestones over time.

"Ours is a story-telling narrative, not an encyclopedic list of names and songs, and our series is our best collective effort at telling the history of a uniquely American art form that itself tells stories through songs; and we try to focus as much as possible on the lives of people who made the music, and give some breathing room as well for the songs themselves (and sometimes the stories behind those songs.

"We fully realize that others might make different choices, and we fully anticipate that some folks will have complaints about what's not there (probably more than what's there).

"With passage of time, maybe Florentine will return to [the] topic (we did that with Baseball, not in any others),but there's plenty of opportunity for someone else to bring things into the the 21st century as well."

With male-dominated program advisers beginning with the buddy-buddy "Oermax twins," not to mention BILL IVEY and PAUL KINGBURY, it became obvious why the otherwise unaware Burns crew (like most "outsiders" who approach the familiar 501s, admittedly the seemingly logical place to start), relied on those they did, to the exclusion of people and source material that would have otherwise been available.  (These industry-directed detours are by design.)

And while that is disappointing (industry bullies continue to be emboldened), I will be the first one to say that I thought the result was so good that once the series concluded, as with past Florentine productions, I was the closest I'll ever be to a drug addict forced to go cold turkey.

So what might have been different had STACY HARRIS been consulted?  

Well, a promotional reel referencing The Singing Brakeman (to whom Ken Burns referred as Burns was being interviewed by JEFF GLOR on the September 14, 2019 edition of CBS This Morning Saturday) might have shown him rather than the Honeycomb singer.

I refer to my notes on the series, beginning with the first episode (OAD September 15, 2019). 

During the opening sequence, in which KATHY MATTEA reminisces about her time as a Country Music Hall of Fame tour guide, a photo of FRANK JONES (my ex- GARY's dad)  and DOROTHY RITTER appears.  I appreciate that there wasn't time to identify either by explanation, but a photo caption might have at least sent the curious to Google.

My reaction was the same when clearly identifiable images of an otherwise unidentified ROD BRASFIELD appeared in separate episodes of the series.

My wish list would have included some mention of our industry's characters, ranging from JERRY SEABOLT to HENRIETTA DARR-JOHNSON, but, here again, the episodes had to have continuity and conform, to some extent, to viewers' attention spans.  

I was curious about the inclusion of BETTY JOHNSON, especially since Betty demonstrated that she didn't know the words to I'll Fly Away...

And why was DAVID COBB, who was referenced, not identified by name?

By Episode Four viewers learn that PATSY CLINE appeared on a Washington, D.C. TV show, but why wasn't the show's host, JIMMY DEAN identified by name?  Additionally, I imagine that any description of Cline's famous cigarette lighter  (found at the scene of her storied death, chronicled by Burns and Duncan) would have ignited- no pun intended- yet another discussion that music historians under time constraints might dismiss as a digression.

And, why within the context of the previously oft-told story of WILLIE NELSON's Family Bible was CLAUDE GRAY not identified by name?

Amid detailing of the founding of the Country Music Association, viewers should have been introduced to JO WALKER (rather than JO WALKER MEADOR  as Mrs. CHARLES WALKER, as she was known during the time of the narrative, later became), the documentary's depiction of the organization's first and only member made it appear that Jo's ascendancy was an industry nod to feminism that would have, historically, been ahead of its time.

The truth was exactly the opposite.  As I wrote in my 1998 CMA chronology The Country Music Association: What Is It Afraid Of?, "CMA Executive Director HARRY STONE, who had assumed his position in February, 1959, left his post later that year, most likely due to a combination of ill health and the fact that the cash-poor CMA couldn't afford to pay both his salary and Jo Walker's.

"Funds were so scarce that, during at least one board meeting, the hat was passed in order to pay Walker, who, after Stone left, assumed the executive director's responsibilities for some time before she ever received the job title."

Some random thoughts: Where was some sort of context, or otherwise an explanation of, color home movies of LORETTA LYNN at a time when the lower middle-class, of which the singer was then a member, could not afford pricey movie cameras and the expensive color film that was  part of the equation?

And why was there no effort to identify BILL ANDERSON'S "wife of a dear friend" (and her spouse)? 

I was pleased that by Episode 5 an early identification of BUD WENDELL as the (insurance) salesman that he once was, was updated to reflect the reasons why the Grand Ole Opry's parent company eventually named a building after him. 

A rare factual error about ROY ACUFF occurred in that same episode: "When Acuff was in his mid-60s," it was said, his days of having "big hits were behind him." 

While an anomaly, Back in the Country peaked at #5 in Billboard on April 6, 1974, only slightly more than five months before the King of Country Music's 71st birthday.  

Surprisingly, Burns documentaries' requisite narrator, veteran actor PETER COYOTE (whose dulcet tones remind me of HENRY FONDA) had a penchant throughout the country-music documentary for mispronouncing the given middle name (and stage surname) of the First Lady of Country Music during episodes six and seven.  That's understandable given that it's the same mistake made by, among the proverbial "many others",  a former First Lady of the United States who famously apologized to TAMMY WYNETTE (but, like Coyote, not for her mispronunciation of the phonetically-correct Winnett as Why-net.) 

Episode six also referenced EUPLE BYRD, but not by name.  Any husband of Tammy Wynette's worth referencing is worth being identifying by name.  Historians need to take the time.

The mention of Wynette's alleged "kidnapping " should have opened up a can of worms.  As someone who was in Green Hills at the time, and close to the scene of the alleged attack, I can affirm that the police were not interested in what I had to say about the incident at the time and it stands to reason that anyone with knowledge of the facts was also dismissed in favor of the more convenient explanation (which wasn't really cited in segment seven either).

A decade or so ago, JOHNNY CASH's niece/office manager, KELLY HANCOCK told me that Cash's erstwhile ABC series would likely never air on 21st century televisions since getting clearances would be a bureaucratic nightmare; Sadly, many of the guest stars had passed by that point, which would mean dealing with their estates, not to mention company mergers and takeovers which produce other rights issues.

That's why I was surprised when GET TV added the Cash show to its Sunday night nostalgia lineup a couple of years ago.  But then it's clear that GET doesn't own (or is otherwise not exercising its right to licensing rights of) the entire series, because it keeps airing, and re-airing, the same handful of episodes.  Enter Ken Burns and Dayton Duncan, whose country-music documentary featured excerpts from the Cash show that apparently had not aired since the original air dates.  

And when detailing Columbia Records' (chief RICK BLACKBURN's) decision not to renew Cash's recording contract (displaying BOB OERMANN's headline worldwide exclusive detailing same), an opportunity was missed to tell the story of how only an intervention by Oermann's boss, JOHN SEIGENTHALER (and a forced apology from Oermann for violating basic journalistic principles), along with considerable ego massaging, convinced a furious and self-described ambushed Blackburn and an equally angry, embarrassed and humiliated Man in Black to cease pressure they were piling on Seig to fire his entertainment writer.

Burns' team did not mention, if it knew, the questionable, if not downright sordid, country music-related history of the Evangel Temple,which Coyote referenced by way of touching on JIMMIE SNOW

A mention that Hee Haw spent three years of its quarter-century run on CBS deserved some context, beginning with the fact that the show was inspired by the success of NBC's Rowan & Martin's Laugh-In

It was interesting to see JAN HOWARD's shocking comments in the aftermath of her son JIMMY's death reprised in Burns' country-music documentary (a sequence that first aired in The Viet Nam War), but in the portion of the interview reserved for the PBS country-music documentary, Jimmy's brothers, CORKY and DAVID, who were referenced should not have gone unnamed.

Episode seven touched on the dissension within the country-music community caused by the Country Music Association bestowing its honors on  OLIVIA NEWTON JOHN's (Female Vocalist of the Year)  and JOHN DENVER' s (Entertainer of the Year) without even a mention of the Association of Country Entertainers (ACE) that formed as a result, to say nothing of the story behind ACE's subsequent dissolution. 

HAZEL SMITH's being identified as a "journalist" and presumed authority figure was interesting in light of Smith's glaring grammatical lapses, to say nothing of her mispronunciation of SHEL SILVERSTEIN's surname. 

The doc gets high marks for its explanation of TOMPALL GLASER's contribution to country's music first platinum-selling album, but there was no mention of his status as the lead singer of the highly-successful country-music trio, TOMPALL and the GLASER BROTHERS.

Kudos to Dayton and Ken for omitting the "goat story"from their JOHNNY RODRIGUEZ segment, thus not further propagating (the myth of) an event that never happened).

Episode eight marked the conclusion of the most ambitious project of its kind, to date, but not without a bit of hyperbole that seemed credible (unless examined) if only because of how well, overall, each episode of the presentation delivered what it promised.  I refer to the "over the top" presumption of the assertion, presented as fact, that REBA McENTIRE "would come to speak for women everywhere."

I hope Messrs. Burns and Duncan will return to Nashville and not so much update what they've done as focus on the history of the country-music business, the end of handshake agreements, the demise of country-music's print media, the endless abuses of power, the abandonment of Music Row as the industry's business district, the fizzling of #MeToo as quickly as it surfaced (despite some historically significant, pre-Internet disclosures dating back decades that were dismissed because they were ahead of their time),  etc.


ALLEN FRIZZELL's son, CAGNEY ALLEN FRIZZELL, is a country-music singer in the family tradition of his famous father and Frizzell uncles LEFTY FRIZZELL and DAVID FRIZZELL and half-sister, TESS MARIE FRIZZELL (daughter of Allen Frizzell and SHELLY WEST).

Unfortunately, Cagney, 25, is the latest Frizzell to make unfortunate headlines.  He has a January, 2020 court date, having been charged September 10, 2019 with a DUI; his second.

First charged with DUI while in Dickson County, Tennessee during November of 2012, Cagney's court date early next year stems from being   caught driving 90 mph (the interstate speed limit was 70 mph).   . .

This time around, claiming he drank two beers, Cagney failed a sobriety test.  Refusing a blood alcohol test, Cagney was then taken into custody by the Tennessee Highway Patrol, the trooper adding speeding, violation of the implied consent law, and a traffic violation (crossing the fog line) to the DUI charge.

After being booked in the Wilson County Jail, Cagney was released on a $3,000 bond.


"The honor of your presence is requested... " So reads my invitation to the "inauguration of Mayor JOHN COOPER, Vice-Mayor JIM SHULMAN [and the] Metropolitan City Council."

The September 28, 2019 swearing-in at the Stratford STEM Magnet High School will be followed by an inaugural parade, as part of the Neighbor 2 Neighbor-hosted Good Neighbor Day Festival at the Southeast Community Center.


Shoutouts to MELANIE MARTEN for adding my profile to the internationally-circulated PRontheGo Pitching Guide and to Main Street Nashville's Senior Staff Writer LAURIE EVERETT for soliciting my memories of AL EMBRY.


Nashville's (runoff) race for mayor has captured Music Row's attention- and wallets. 

As incumbent Mayor (CLIFTON) DAVID BRILEY (grandson of BEVERLY BRILEY, the first mayor of the Metropolitan Government of Nashville and Davidson County and brother of former Tennessee state Representative ROB BRILEY) and JOHN COOPER (brother of Tennessee's Fifth District Congressman JIM COOPER and son of former Tennessee Governor [WILLIAM] PRENTICE COOPER ) await the results of the September 12, 2019 general elections, we'll show you the money: MIKE CURB and his wife, LINDA have contributed $1,600 (the maximum individual contribution allowed by law) each to Briley's campaign.   

MARY ANN McCREADY  has also donated $1,600 to the Briley campaign, while Briley supporters JOE GALANTE and Brentwood's STACY WIDELITZ  have each contributed $500. 

Contributors to Cooper's campaign coffers include KIX BROOKS- who lists his occupation on campaign contribution form (as required by state law), as "self-employed"- and BILL MILLER.  Brooks has donated the max (i.e., $1,600) while Miller's calculated contributions are credited to the JOHNNY CASH museum ($1,600) and the PATSY CLINE museum ($1,600).


The 36th annual Nashville Home Show runs September 6-8, 2019 at the Music City Center.   LAURIE SMITH, YACHECIA HOLSTON and TRACE BARNETT will be on hand, joining over 250 vendors offering services from A ( Aaron's Garage Doors ) to Z ( Zingas Home Solutions ).

In addition to the exhibits, the family-friendly event features seminars, lessons from the cooking stages, interactive arts and crafts and activities for children.  Show times, ticket prices, directions and parking information are available here.


As CRYSTAL GAYLE’s publicist some 45 years ago, I was delighted to receive an invitation from the singer’s current team (JEREMY WESTBY and JASON ASHCRAFT) to join the trio for a listening party at the Grand Ole Opry September 5, 2019.

The celebration spotlighted the release of the platinum-selling songstress’ new album of country standards, You Don’t Know Me.


ZACH FARNUM read off a list of RANDY TRAVIS’ lengthy career-long milestones achievement faster than we scribes gathered in the Country Music Hall of Fame’s Ford Theater September 5, 2019 could write them down, by way of (re)introduction to the man of the hour. (2 p.m.)

The occasion was a press conference announcing The Music of Randy Travis Tour; a tour that, if you’re stateside, is hopefully coming to a city near you beginning with an October 16, 2019 performance in Indianapolis.

Obviously, with Randy’s voice having been largely silenced, with his gait unsteady in the wake of a massive stroke, this tour will not be anything like Travis’ most recent tour, of some years back now.  But, in the tradition of “the show must go on,” accommodations worth the price of admission have been made.

As Randy and his wife, MARY took the stage, Mary, in her role as Randy’s spokesperson, disclosed the details of the 16-city tour.  No holograms, here, thank you.

Rather, Randy’s personal appearances will be one of the highlights of performance by Travis’ biggest hits as performed by Randy’s The Price costar JAMES DUPRÉ, accompanied by Randy’s original band.

Mary then introduced Dupré, after which James spoke about his relationship with Randy before entertaining the members of the fourth estate with James’ version of Diggin’ Up Bones.

Q-A session followed in which I asked a question about the length of the tour: Was it coordinated in such a way as to accommodate Randy’s physical limitations and to accentuate his stamina?

Historically, and even with the advances in transportation over the decades, touring is often the most strenuous part of an entertainer’s job.  Still, Mary insists that from the first concert to the last (in Green Bay, Wisconsin on November 2, 2019) “James will be doing most of the work.”   

And, “Will the dogs be joining you?”

My second question, about the pets who had been a very special part of the couple’s life as of the last time I saw them only a couple of months before, was prompted by somewhat of an inside joke.

Mary’s answer? “Yes, of course.”


Column's condolences to TOMMY CASH, Tommy's wife MARCY and to MARK ALAN CASH on the passing of Tommy's daughter and Mark's sister, PAULA.

Paula's passing comes not long after the death of her and Mark's mother, BARBARA, who lived in Florida- two doors down from Paula.

As is the case with many families of grown children, geography separated Paula from her father and brother, but the Cash family was fortunate to have seen Paula as recently as a couple of weeks before her passing when she came to Hendersonville, Tennessee for a visit. 

A licensed pilot who once owned her own flying service in Winder, Georgia (near Atlanta) and a graduate of Harpeth Hall, Paula made a what would otherwise be called a midlife decision to complete college.

A psychology major, Paula received an Associate of Arts degree.  By then, according to her dad, Paula so loved "the college life," that, at the time of her death, she was pursuing yet another degree; this one an Associates in Science with a major in business.

Paula Jean Cash's unexpected death after a brief illness comes only a little more than a month before what would have been her 56th birthday.


From the Music Row Report Los Angeles job bank:  If you're an entertainment journalist living/working in the City of Angels (and a few devils), I may have your ticket to the big time.  

UsMagazines.com is searching for an experienced, goal-oriented senior editor whose passions include celebrity and entertainment news.  The successful candidate will report to the online executive editor and will join other senior editors in editing and overseeing all digital content.

If you maintain high standards for quality and accuracy,  are willing to work evenings, weekends, and holidays, and can be counted on to cover special events and award shows, this job is for you!

For more specifics about this full-time Wednesday-Sunday position, including hours, a full list of responsibilities and application information, contact me.

Want a job like this one but don't live anywhere near La-La LandStacy's Music Row Report premium subscribers regularly receive notice of employment oppotunities closer to home, especially if your home is near Music Row.


Key media have penciled August 30, 2019 on their calendars, courtesy of
BEV MOSER's invitation to attend EXILE's celebration of the release of demos they recorded between 1979 and 1982 at Lexington, Kentucky's LEMCO Studio.

Unearthed and unheard in the nearly four decades since, the big reveal of Exile: The Garage Tapes will begin with a late afternoon sound check, followed by media interviews, culminating in an evening performance at 6th & Peabody.


The Basement East will be the place to be August 27, 2019 when LOST HOLLOW takes the stage for a celebration, launching its first full-length album since its 2013 self-titled release.   CONNER McKIEVER has issued an invitation to key media to join the wife and husband songwriting duo, LORRIE and TOMMY HARDEN , as the two perform songs from Looking for Happy.

Lorrie and Tommy will be joined by special guests including JOHN FORD COLEY, PAUL OVERSTREET, TEDDY GENTRY, SUNKAT, JOHNNY REID.  Tommy promises surprise guests (ARLENE HARDENROBBIE HARDEN?) will also be on hand.


Attention house hunters:  Have I got a bargain for you!

"RAYNA JAMES"' home, (in reality, owned by a trust created by SYLVIA ROBERTS) has been on the market for nearly two years.  It was originally listed for $17.999 million.

Located at 1358 Page Road in Belle Meade (the swanky Music City suburb), Roberts' home was used for filming of the ABC (and later CMT) show's exteriors.  It boasts these stats: 20,533 square feet, six bedrooms and eight bathrooms.

Annual property taxes are $93,496.

So where's the bargain?   Sylvia Roberts has reduced her asking price by $1 million.  As of this writing she'll settle for a cool $15,999,000.

How affordable!  Still interested?


We posed the question (see below): How often are your local drug dealers the sons of Music Row royalty? 

We didn't receive an answer, but if you ask  if 
SIDNEY SINGLETON, SHELBY SINGLETON's 64-year-old son, and DONALD PRESTON, FRANCES PRESTON's 63-year-old son, are convicted felons following their August 12, 2010 trial before Davidson County General Sessions Court Judge GALE ROBINSON, the answer is no.

Were they acquitted?  That answer is also no.

After the charge was amended to the lesser offense of "possession or casual exchange," plea bargaining resulted in the two men   agreeing to plead guilty to a misdemeanor so as not to be stigmatized and imprisoned as convicted felons.  Each was then fined $500 and given probation, meaning that, if they behave themselves, the 11 months and 29 days they will otherwise have to serve in prison, remains a suspended sentence they will never have to serve.

It was not Singleton's first brush with the law.  He knew how to work the system back in 1990 when, having initially received a DUI, Sidney again avoided incarceration,  pleading guilty to a reduced charge of reckless driving and was fined $500.


As a book reviewer of several decades, I really appreciate  JAMES JACKSON  requesting my recommendations for the newly-published  Boove's list of the best songwriters' books.


From the Music Row police blotter:
TONY BROWN's ex-wife (due, in part, to well-publicized allegations of spousal abuse), JAMIE NICOLE BROWN recently found herself on the other end of a domestic assault charge.  Jamie copped (no pun intended) to turning a verbal argument with her betrothed, TONY BATES, the married father of three at the time of Jamie's marriage to, and breakup with, Tony Brown, into domestic assault.

Brown admits to biting Bates' forearm.  By Tony's account he was bitten after Jamie threw his cell phone across the room of Bates' Lebanon, Tennessee home.

Brown told Lebanon police that Bates (
notoriously abusive TRACY LAWRENCE's buddy) threw his own phone and, rather than trying to deescalate the conflict, as Tony claims, Bates threw his own phone, proceeding to choke Brown twice before she first hit his forearm in self-defense.

The arresting officer sided with Tony Bates.  Jamie is set to appear in Wilson County General Sessions Criminal Court on September 17, 2019.

Meanwhile, JOSH HOGE, having provided Metro Nashville officers two different explanations of how he found himself charged with a DUI, was arrested and jailed for 45 minutes before bonding out.  It was not Hoge's first brush with the law.  


From the emailbag (and used with permission), JOHNNY COUNTERFIT writes "I was surprised by your article concerning the 'songwriting Feller' and agree that the Nashville Public Library should have added the book to its shelf (perhaps designating) local writers; the library rejected my published book as well.

"As a comedian, I must ask, did DICK FELLER change his name for surgical reasons?"


, having provided media access to the Grand Ole Opry on the occasion of SCOOTER BROWN's July 30, 2019 Opry debut, put out the welcome mat to media mat once again on August 6, 2019.  The occasion?  KARISSA ELLA's release party celebration for her EP, Blossom at The Local.


Fans packed the (KENNETH) SCHEHERMERHORN Symphony Center, welcoming JOHNNY RIVERS back to Music City on July 24, 2019.  At 76, Rivers (née JOHN HENRY RAMISTELLA) gave Nashvillians perhaps a last chance to see him “live” on the Nashville leg of what is being billed as Rivers’ “Farewell Tour.”
Johnny appeared sans the Nashville Symphony, though Rivers reminded ticket holders he is no stranger to performing with symphonies,  though his  last Nashville appearance was a guest spot on The Grand Opry.  Johnny noted that, at that time, he sang “two songs at the Ryman, which was kind of cool.  VINCE GILL played with us.”
Rivers’ brought another bit of local color to the evening as he introduced his musicians and backup singers, the best-known of whom is CACTUS MOSER.  As Johnny explained, he worked with Moser back when Cactus was a Los Angeles sessions player, prior to Moser’s joining HIGHWAY 101 and, as Rivers added, Moser’s marrying WYNONNA.
The evening’s music began well before Johnny sang his first note.   He and the band kicked off the show with the familiar instrumental strains of Summer Rain, saving the lyrics for a full performance of the song later in the show.  Those first strains morphed from the song seemingly so titled to reflect the showers Nashvillians have accepted as going hand-in-hand with heat of summer, to instrumental excerpts of other songs fans were expecting Rivers would sing,
The instrumental medley of sorts segued into Johnny’s performance of an elongated, bluesy version (Big)Midnight Special that was a departure from his energized hit version (not to mention WILMA LEE and STONEY COOPER's frenetic hit recording of the song, the popularity of which predates the Coopers', Rivers’ and PAUL EVANS’ memorable recorded performance).

This musical excursion was followed by Rivers’ performances of songs the crowd came to hear- such as Seventh Son, Mountain of Love, Summer Rain, Poor Side of TownSlow Dancing
- as well as Muddy River.

With some of Rivers' biggest hits being cover records  (
The Tracks of My Tears, Baby I Need Your Lovin'Memphis, TennesseeMaybellene, The SnakeRockin' Pneumonia and the Boogie Woogie Flu ), it was easy for Johnny to transition to hit songs associated with other artists he has not recorded such as One Love, Lawdy Miss Clawdy,  Kansas City, Route 66 and House of the Rising Sun.

While paying tribute to songwriters WILLIE DIXON and JIMMY WEBB, Johnny noted that he was the first to record Webb's By The Time I Get To Phoenix (on Johnny's 1966 album Changes) but the song, which Webb wrote for PAUL PETERSEN, remained a buried treasure until GLEN CAMPBELL, heard Johnny's version, cut the song and Campbell's single became a worldwide hit. 

Johnny Rivers came stage banter to a minimum, but his dry humor was evinced when the occasion to tune a guitar presented itself:  "You know why we tune, don't you?,"  Rivers rhetorically asked the crowd, adding "Because we care."

That caring extended to Rivers throwing a few Secret Agent Man tee shirts into the crowd (before he'd even sung the song) for the benefit of a few lucky fans and giving every ticket holder the chance to join in as Johnny sang Baby I Need Your Lovin'.  The latter lovefest was a display of Johnny's humor at its finest, involving a brief, PG-rated differentiation between "want," "need" and an artful demonstration of how to persuade inhibited or otherwise resistant men to join in on the chorus.

Only the encore seemed contrived, awkward in its execution as many encores have become with rarity haven given way to expectation, the predictability becoming evident when Johnny finally got around to singing
Secret Agent Man.  But he added a fitting benediction to the evening, mindful of who his audience was, by leading his group in Will The Circle Be Unbroken.

Rivers also proved a man of his word as he promised fans who had the time to wait once the show concluded that, "after I get cleaned up,"
he would be glad to sign copies of his albums, posters and other memorabilia available in the lobby as well as to briefly chat with them.

Clearly anticipating the line of loyal admirers vying for his time and personal attention, "I don't want to hear your life story," Johnny chided.


In case you missed it, my initial quest to find out whatever happened to DICK FELLER, and then to find out why a noted songwriter's first book gets no love from the Nashville Public Library, culminated in a byline; the Tennessean column published online July 22, 2019 and made available to home subscribers and on newsstands two days later.


How often are your local drug dealers the sons of Music Row royalty?

SIDNEY SINGLETON, SHELBY SINGLETON's 64-year-old son, and DONALD PRESTON, FRANCES PRESTON's 63-year-old son, are scheduled for trial before Davidson County General Sessions Court Judge GALE ROBINSON August 12, 2019.

On May 7, 2019 Singleton and Preston were arrested and charged with selling pot, marijuana extract and liquid THC vials from a parked car in a a grocery store parking lot, after making arrangements for the sales on a website whose visitors included an undercover officer.

The ill-fated deal went down at Osborne's Bi-Rite, at 3116 Belmont Boulevard, less than 1,000 feet from Christ the King School (at 3105 Belmont Boulevard) where Preston and Singleton offered to sell an ounce of marijuana to an undercover detective for $300.

According to the arrest report, after Donald Preston exited the passenger side of the red Chevy Volt and got into the police vehicle to complete the transaction, the "deal" was considered sealed and both Donald and Sidney were taken into custody.  A further "Carroll search" (so named following a Supreme Court ruling establishing that probable cause is sufficient- i.e. it is not necessary for police to first obtain a warrant- to justify the search of a lawfully stopped vehicle and its contents) revealed another 353 grams of pot, 2 cards of marijuana extract and 19 vials of THC liquid.  Total weight: 2 grams.

Singleton and Preston were each charged with selling drugs in a drug-free school zones, which is a felony.  Each posted a $10,000 bond.

Following a June 14, 2019 settlement hearing, the case was set for trial in August.


CONNER McKIEVER is alerting media that Austin-based, southern rock group COPPER CHIEF "will be performing at the High Watt" July 10, 2019 "and you're invited to a special meet & greet prior to the performance."

"Hi, STACY,  you're invited!"

So read an invitation from JEREMY WESTBY and JASON ASHCRAFT's invitation to J.D. SHELBURNE  July 2, 2019 "full band and industry showcase at Ole Red Nashville."

J.D. performed his past releases, some covers, and songs from his current album, Two Lane Town, including She Keeps Me Up Nights during an extended first set of the four-hour event.


Anyone who's read my review of JOHNNY LEE's most recent book knows I'm a big fan of Lee's (and my fellow) ghostwriter, SCOT ENGLAND's writing.    

Recently, Scot was kind enough to send me two of his earlier books, as well as his newest collaboration.  As I look forward to reading another of those books, (RONNIE MCDOWELL: Bringing It To You Personally)  I've just completed reading Lucky Me (MOE BANDY: The Autobiography) and  The Man in Back (JIMMY CAPPS: The Autobiography ).

The Moe Bandy book, notable from its first pages that include a foreword by late Bandy buddy BARBARA BUSH, inspires with its acknowledgment that Moe's career took off just as he was quitting music out of frustration.  Readers learn that Moe has a niece with Down's Syndrome.  

Bandy's ANSLEY FLEETWOOD story is not to be missed.  Same can be said of why, when BOY GEORGE sued Moe and JOE STAMPLEY, only Stampley (who refers to the British singer as "that little pecker head") had to pay.

More?  How about the time Moe says he beat up ANITA BRYANT's second husband, CHARLIE HOBSON DRY at Dry's invitation?

My book reviews are limited to current books, hence the abbreviated references to England's collaboration with Moe Bandy and a few of the highlights from England's Jimmy Capps book that follow.

Significantly, in addition to being a world-renown acoustic (and electric) guitarist and session player, cemented his future as a Grand Ole Opry staff band member after first appearing on the Opry at age 19!

Anyone who has ever spent any time at corporate Christmas parties (as they were then called) in general, and  around Nashville's WLAC-TV (now WTVF) in particular, will get a laugh out of Capps' chocolate coat story.

Trivia buffs will also learn that Jimmy's son, MARK is the stepfather of ROY ACUFF's great-granddaughter and that Jimmy turned down opportunities to become one of ERNEST TUBB's Texas Troubadours and PORTER WAGONER's Wagonmasters.

Look for my review of Scot's newly-published hardcover, This Is My Story; This Is My Song: LULU ROMAN, The Autobiography here soon.

BENJI MICHAELS is first with the news of "a radical new hybrid approach to collectively experiencing live music and social action. 

"EMERGE aims to reignite the role of popular music as a central driver of social change by showcasing headliners around women's and minority equality, LGBT rights, immigration, gender identity, and the political issues that define our generation."

The two-day event (May 31- June 1, 2019 at the Las Vegas Hard Rock Hotel) features a great lineup of speakers and musicians.
For the complete list, showcases schedule and information on  how you can get involved, click here.


BEV MOSER's invitation to attend ERICA STONE's May 20, 2019 showcase at Nashville's Analog at Hutton Hotel was not just an album release

True, Erica performed songs from Antidote, but publicizing her new music was not Stone’s only mission. Those on hand for the “private music industry event” were also treated to Erica’s “sharing stories” from “her new best selling book, and the film that’s made about her work in Sierra Leone on behalf of orphans and children” (sic)… Her #1 bestseller Gray will also be available on site.”   (Look for my review of Gray here!)


MARTHA MOORE and event emcee DAVID PRESTON pulled out all of the stops at MARTY BROWN's May 16, 2019 CD American Highway release party at BMI.

David presented Marty with BMI's Million-Air award, which, in Brown's case, could be renamed the Multi-Million-Air award, since "as is" it commemorates the first mil of over five million radio spins of TRACY BYRD's hit (which Byrd co-wrote with Brown), I'm From the Country.   

After the presentation, which found Marty teasing David about Preston's "killer hair," though we had just been introduced, Marty beckoned a photographer, insisting on a photo with me.  I hope my reputation precedes me, but my guess is Marty was more impressed by my observation that I was probably the only person in the room who first became aware of him while watching his March 13, 1991 appearance on CBS' 48 Hours (before the network dumped the series' news magazine format, rebranding it as a "true crime" franchise).

I  also schmoozed with Marty, his mom, BARBARASHANNON POLLARD, BOB PAXMAN,  JON TIVEN and SALLY TIVEN.  (The Tivens are about to celebrate their 40th wedding anniversary!)

MARTY BROWN, JR., also on hand, was given a performance spot as his dad (and cowriter) took a brief break from performing a few of the songs on his new album on the makeshift BMI stage.


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