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12 The Nashville Musician April-June 2007 Local 257 guitarist also writes, sings, produces . . . (#1 record) Patience pays off for both Atkins, Curb Rodney Atkins performs on CRS New Faces Show. By WALT TROTT AFM Local 257 member Rodney Atkins certainly had a memorable day, March 28, marking his 38th birthday at BMI. Just as the performing rights organization saluted the singer-songwriter with a #1 party for “Watching You,” label chief Mike Curb announced that Atkins’ album “Going Through Hell” had just been certified by RIAA a platinum seller. “This is the first song I’ve ever written that went number one, and it being such a personal thing, I can’t imagine it being more special,” noted Atkins. “It’s like every country music fairy tale come true . . . I never stopped believing it was possible to have number ones, but having an album go platinum is definitely huge.” “Watching You” boasted four weeks at #1 on Billboard, starting Jan. 27. Being his first charttopper that he wrote, BMI presented Atkins with a guitar (as part of a new policy for first-time #1 writers only). The title track from his CD also went number one for Atkins four weeks starting Aug. 12, 2006, and later named Billboard’s most played country song of the year. He’s proud of their number one song’s message which he helps to put across. Atkins added that lots of e-mails confirmed for him that those with such addiction appreciated the song: “It kind of shook them loose. I’m proud to be a part of family-friendly music. People want those kinds of songs.” The frosting on his career cake was being nominated by the Academy of Country Music as best new male vocalist, while a second best song nomination (a writer’s trophy) came for his record “If You’re Going Through Hell,” co-written by Dave Berg, Annie Tate and Sam Tate. (Winners will be announced May 15.) During his media chat, the 6-foot, 4-inch Atkins pointed out he would be going on tour with Martina McBride, followed by yet another tour with prankster Brad Paisley this summer. He praised both artists: “They represent the best of what country music stands for. I can’t explain how humble and thankful I am to be part of this group.” Co-writers sharing his big day for “Watching You” were fellow BMI writer Steve Dean and SESAC writer Brian White, who had been saluted earlier in the week by that agency. Among hundreds attending the BMI bash were Atkins’ wife Tammy Jo (who gifted him with his first set of golf clubs), their 5-year-old son Elijah, Rodney’s mom and dad Margaret and Allen Atkins (“my role models”), his band members, label boss Mike Curb and such other industry figures as BMI’s Jody Williams, CMA’s Rick Murray, publisher Charlie Monk (Mayor of Music Row), Sarah Trahern and Ed Hardy of GAC (which plays his videos), WSM Opry manager Pete Fisher (could it be Rodney Label boss Mike Curb makes platinum presentation. may be the next and newest cast member?), Craig Wiseman, Ed Morris, Becky Hobbs, Ed Benson, Vernell Hackett, Dave Berg, Bob Paxman, Joe Stampley, Taylor Swift, John Lomax III, Eddy Raven, Annie and Sam Tate, Ed Salamon and Barry McCloud. Curb presented the star with both a platinum disc for his album (indicative of more than a million units shipped), and the rugged International Scout vehicle used in his last two music videos, saying of the used ATV, “I predict that will be in the Country Music Hall of Fame someday.” Atkins shared with us a couple anecdotes concerning him and Elijah, who appeared in dad’s music video, noting that the boy was surprised while eating out at Taco Bell when someone shouted, “That’s the Buckaroo kid!” before spotting Atkins. After the recognition factor occurred again, Elijah stated matter-offactly, “Daddy, we’ve got fans everywhere!” One must commend Curb Records for its patience with artist Atkins, who during his Photos by Patricia Presley decade at the label, first charted in 1997 with his self-penned “In a Heartbeat” one week (#74) only, and five years later returned to the chart with back-to-back Top 40s: “Sing Along” and “My Old Man.” The following year, however, Atkins finally scored his first legitimate hit: “Honesty (Write Me a List)” (#4, 2003). Sadly, his 2003 album “Honesty,” for which he wrote eight of the 12 tracks, failed to register Top 40 chartwise. Some label heads might have dismissed this East Tennessee boy as a one-hit wonder, but not Curb Records’ chief. “Rodney learned the totality of the business,” crowed Curb. “He learned how to use his voice as an instrument in part of the recording process. But he also learned how to produce, how to write and how to grow.” Acknowledging appreciation, Atkins said, “Curb Records never stopped believing it would be possible for me to have a number one song . . . I never stopped believing in myself, because people around me never stopped believing.” The birthday boy also disclosed that his album was recorded on a shoe-string, at his home studio away from Nashville, joshing that it’s probably the cheapest CD that Curb Records has yet released. Atkins also added he hopes Curb will permit him to make his next album the same way. “The record label let him be himself and it’s nice to have a label stick with him and then be surrounded by people who support him being himself,” bolstered Greg Hill, Atkins’ manager. So all are anxious to see how his current single “These Are My People” (which he didn’t write) does at radio. By the way, Atkins did co-write six of his album’s 10 tracks. One of the few extravagances Rodney Atkins has allowed himself with his newfound success, was to put in “a circle drive at my houses, so the bus can turn around.” Here’s an artist who knows all about turning things around. Congratulations, Rodney. Wife Tammy Jo and son Elijah share dad’s big night. Elijah and Rodney’s parents Margaret and Allen Pros Eddy Raven and Joe Stampley pay respects. Veteran vocalist Becky Hobbs applauds Atkins. Atkins make his #1BMI bash a real family affair. Country Music Television announces best The fan-voted Country Music Television (CMT) awards isn’t locked into the tunes or artists promoted by country radio, giving the controversial Dixie Chicks a chance to wind up in the winner’s circle. Apart from the Grammys, the Texas trio’s been missing in action from recent country awards programs, due to lead singer Natalie Maines’ outspoken 2003 comments raggin’ against Presidential politics. Rascal Flatts nabbed three CMT nominations in a year that has seen them crossing over into pop music charts and setting box office records with their concert sales. The Dixie Chicks are now vying for the top dog in best video honors, as well as for best group video. Incidentally, the largest list is reserved for the best overall video category with eight nominees, which will be reduced to four on the night of the actual awards show, April 16, obviously being telecast by CMT. Nominees for Best Video are the Chicks’ “Not Ready To Make Nice,” Carrie Underwood’s “Before He Cheats,” George Straits’s “Seashores of Old Mexico,” Keith Urban’s “Once in a Lifetime,” Kenny Chesney’s “You Save Me,” Rascal Flatts’ “What Hurts the Most,” Sugarland’s “Want To” and Toby Keith’s “A Little Too Late.” Up for Best Female Video are Carrie Underwood, Faith Hill’s “Stealing Kisses,” Gretchen Wilson’s “California Girls,” and Sara Evans’ “You’ll Always Be My Baby.” Best Male Video contenders are Chesney, Keith, Josh Turner’s “Would You Go With Me,” and Tim McGraw’s “My Little Girl.” Duo Video nominees are Sugarland, Big & Rich’s “8th of November,” Brooks & Dunn’s “Building Bridges,” and The Wreckers’ “Leave the Pieces.” Group Video honors competitors are the Dixie Chicks, Little Big Town’s “Good As Gone” and both Rascal Flatts’ “Life Is a Highway” and “What Hurts the Most.” Breakthrough Video contenders: Jason Aldean’s “Amarillo Sky,” Kellie Pickler’s “Red High Heels,” Taylor Swift’s “Tim McGraw” and The Wreckers’ “Leave the Pieces.” Wide Open Country Video (one that pushes the boundaries of the genre): Jack Ingram, “Love You,”; Jimmy Buffett, “Bama Breeze”; Johnny Cash’s “God’s Gonna Cut You Down”; and Sheryl Crow-Sting’s “Always On Your Side.” Up for Best Director’s award for music video of the year, are: Paul Boyd for Gary Allan’s “Life Ain’t Always Beautiful”; Roman White for Carrie Underwood’s “Before He Cheats”; Shaun Silva for Kenny Chesney’s “You Save Me”; and Wes Edwards for Jason Aldean’s “Amarillo Sky.” The awards show is slated to beam live from Belmont University in Nashville, hosted by country comic Jeff Foxworthy.
April-June 2007 The Nashville Musician 13 A letter from AFM President Thomas F. Lee to Local 257 Dear Harold Bradley: At their meeting, Feb. 22, 2007, the Trustees of the American Federation of Musicians and Employers’ Pension Fund (“Fund”) adopted a reduction in the benefit multiplier from $3.50 to $3.25 for benefits that begin at age 65. (Corresponding reductions will apply to benefits beginning before age 65.) This reduction will not affect the calculation of benefits based on contributions for covered work before April 1, 2007. It will apply only to the calculation of benefits based on contributions for covered work on or after April 1, 2007. Every participant will receive a detailed notice from the Fund in the mail in the next several weeks, explaining the conditions that required this action and the effect of the change on benefits. In brief, because of the continued effects of the downturn in the financial markets in 2001-2003, the Trustees concluded that this reduction is necessary to ensure that the Fund will satisfy the minimum funding rules of federal tax law in the short term. At the same time, the Fund’s actuaries have updated their assumptions and project that, with this reduction, the Fund’s financial condition will be very sound and steadily improving as far out as their projections go - which is 2041. There can be no guarantees, but if there are no events similar to the unusually extended and adverse financial conditions of the early 2000s, and the actuarial assumptions otherwise hold true, this should the only reduction necessary. The Trustees will carefully monitor the funding status of the Fund so that the 25 cents can be restored as soon as the Fund’s conditions permit. - Thomas F. Lee, President, AFM New York City More on CITES Gruhn Guitars’ CEO writes on NAMM ‘action initiative’ re endangered species’ regs Editor’s note: Fellow Local 257 member Walter Carter, who works with Gruhn Guitars has requested that the following be published to help enlighten members in reference to the upcoming Convention on International Trade in Endangered Species (CITES), scheduled in June 2007. The following is an open letter from George Gruhn: Recent changes in the enforcement of the CITES treaty (Convention on International Trade in Endangered Species), along with proposed changes in the treaty itself, could have a devastating effect on musical instrument makers and dealers and could even make criminals of many musicians who carry their instruments across international borders. NAMM (the International Music Products Association) is lobbying federal officials on these issues and has declared an “action initiative,” asking guitar owners, dealers and makers to voice their support with a web-based letter-writing campaign. Dealers, guitarmakers and importers have already been adversely affected by tighter enforcement of restrictions on Brazilian rosewood and the implementation of a near-impossible permit process in the U.S. Now the 160-plus CITES member countries have been asked to restrict Honduras rosewood, Nicaraguan rosewood and pernambuco. These woods do need protection, but the proposal does not stop with restricting raw lumber. It extends to finished goods – not just new goods but all existing goods, such as violin bows. Virtually every good-quality violin bow made in the last 200 years is made of pernambuco, and if the proposal goes through, it will be illegal to cross an international border with a pernambuco bow without a permit. The permitting process requires a separate permit for every border crossing which, combined with the cumbersome process of getting even one permit for U.S. export, makes it legally impossible to tour internationally with a CITES-restricted instrument. These restrictions already apply to finished goods – including numerous vintage guitars – containing Brazilian rosewood, elephant ivory or tortoiseshell (hawksbill sea turtle). NAMM has a governmental affairs department with an attorney on retainer. NAMM’s attorney effectively lobbied the CITES board when Brazilian rosewood was added to Appendix I (the most restricted group) of CITES in 1992. NAMM is now calling for an “action initiative” and has set up a web page with a form letter that can be edited and personalized to reflect each individual’s concerns. The letter can be e-mailed to the appropriate federal authorities from the website or printed for fax or regular mail. The CITES board meets in Geneva, Switzerland, in June, but the Fish and Wildlife Service (which administers CITES in the U.S.) will only be accepting letters from the public until April 20. The URL is http://www.namm.org/government-relations/export-restrictions-alert. There are two points that should be made in a letter to Fish and Wildlife. First, existing finished goods should not be restricted on Appendix II items, specifically on Honduran rosewood, Nicaraguan rosewood and pernambuco. While the three woods are not widely used in guitars, the precedent of restricting finished goods – which would cover all pre-existing products – could be devastating if applied to common guitar woods. More important, though, in the long run is the need for a practical certification process – preferably one in which individual instruments, both new and pre-existing, can be permanently certified as to age and materials. Again, the time to act is now, before the April 20 deadline. Many readers of VG, and virtually all major vintage guitar dealers and makers, have been aware of the ramifications of the CITES treaty since its implementation in 1974 or at least since the addition of Brazilian rosewood to Appendix I in 1992. For items on Appendix I, finished goods as well as raw lumber can not cross international borders without a permit stating that the item was made before a certain date (1992 in the case of Brazilian rosewood). Prior to 1969, when Brazil stopped shipping rosewood as raw lumber, the use of Brazilian rosewood in musical instruments was pervasive; even the makers of cheap guitars, mandolins and banjos used Brazilian rosewood for fingerboards. With the advent of CITES, shippers either got a permit for each instrument (which required a great deal of time and paperwork, plus a reciprocal permit on the part of the receiver) or else they simply lied on the declaration. Although we have heard of only a few cases where musicians have been stopped from crossing a border with their own personal instrument containing an Appendix I material, it has nevertheless been illegal to do so in the case of Brazilian rosewood since 1992. The certification process in the United States has recently gone from cumbersome to near-impossible. Where a dealer used to be able to get a permit for an individual shipment, now a dealer has to list all inventory items containing CITES-protected materials and then list all of those that he plans to ship or carry across a border within the next sixth months. If the dealer should acquire another instrument with CITES-protected materials during that sixth month period, that instrument would have to wait until the next permit period before being eligible for a permit. In addition, customs officials in the U.S. and Japan in particular are scrutinizing shipments more carefully, requiring the Latin names of wood species and their country of origin before letting them enter the country. While dealers have become accustomed to lax enforcement, we do know of recent instances where a dealer’s shipment was stopped by Japanese customs and where a shipment of Chinese-made guitars coming into the U.S. was stopped for lack of proper documentation. Two of the more commonly used guitar woods – Honduras mahogany and Brazilian mahogany - are currently on Appendix II and restricted only as raw lumber, but they are becoming so scarce that they could be moved in (Continued on page 17) OUR READERS WRITE . . . Dear Editor: Thanks for the excellent coverage of the first part of the FCC Hearings in Nashville on Dec. 11, 2006. It certainly was a star-studded event and among all the media hoopla there was some solid testimony from the Nashville celebrity panel, including President Bradley’s, which was covered very well in the last issue of this paper. There are a few additional points worth noting from later in the day, however. As you noted in your article, some of the FCC Commissioners were very upfront about the mistakes that have been made by the FCC in the past few years, especially under previous Commissioner Michael Powell. Many things were said about the importance of the public having a chance to speak, but unfortunately the actions on that day of the current head FCC Commissioner, Kevin Martin, did not reflect this. The second portion was for open testimony from the general public, and there were many dozens of people lined up for their turn to speak. Hal Ponder, AFM Legislative representative in Washington, D.C., had asked Bruce Bouton and myself to speak on behalf of the AFM and Local 257. We both spoke about different areas of the industry and the problems that Corporatization has created to new and independent artists and musicians trying to get their music heard. Our testimony was printed in the February issue of International Musician, for anyone interested in reading our testimony. Unfortunately, the one person who really needed to hear this testimony, FCC head Commissioner Kevin J. Martin, was not present, though he was in the building. What was very disturbing to me, and many other people, was that for the first hour of Public Testimony, Mr. Martin was nowhere to be found, never heard the testimony of Bruce, myself, and many other people, who had made a great effort to be at the hearing and register to speak. Therefore, Mr. Martin has no idea how AFM members feel about this extremely important issue, one that could mean life or death to the Music Business, as we know it. When he returned after being MIA for nearly an hour, his only excuse was that he was on his cell phone backstage “taking care of some important business” for the FCC. What could possibly have been more important than listening to the very people he is supposed to be serving? Mr Martin, you did the musicians of Local 257 and people of Nashville and America a great disservice with your callous disrespect of the public process you supposedly came here to foster. One can only hope that these Public Hearings were more than just a media opportunity and mere lip service to the American Public. I hope that you will prove me wrong. We will all be watching the upcoming decisions of the FCC with great interest, and hope that you will do the right thing and loosen the choke-hold that media consolidation has put on OUR airwaves. - Dave Pomeroy Nashville Dear Harold: It was with great surprise and extreme pleasure to receive my letter of notification and Life Membership Pin. I also miss the (Grand Ole Opry’s) Willis Brothers and appreciate your comment that you missed them also. This letter will be a valued addition to my memories and collected memorabilia of my career as a musician, entertainer and a member of AFM Local 257. Thank you and God bless. - Joe Willis Nevada, Mo. Dear Walt: Thanks for the great coverage on Alias (Alias boasts Symphonic players, and now enters its fifth year of concerts, January 2007) in the paper. Will have comp tickets under your name at will-call the night of the concert. Hope to see you there. Thanks. - Zeneba Bowers Nashville Dear Walt: Just received and read your wonderful article on The Time Jumpers (Jan. 2007 issue). You do incredibly eloquent work. You really do love the music and those that make it. Thank you, also, for the tribute to our friend Del Reeves. I will miss him as I know you will, as well. All of us who knew him are very appreciative of your article. Well done. - Terry Choate Magnet Music Group Nashville Hi Walt: Thanks for putting such a great article together (Baldassari turns onto ‘Bach, Beatles, Bluegrass,’ Jan. 2007) for me! Do you know if it is on the Internet somewhere? On the AFM site, maybe someplace that I could link to it. It’s a nice piece of information+publicity, etc. -Butch Baldassari Nashville (Editor’s note: All articles - and advertising - featured in The Nashville Musician are also posted on the AFM Local 257 website, www.AFM257.org for its members.) The Editor reserves the right to edit letters in the interest of space and clarity. Send letters to: The Nashville Musician, AFM Local 257, P.O. Box 120399, Nashville, TN 37212. . . . ACM award nominees (Continued from page 11) Top Video - “Eighth of November,” Big & Rich, produced by Steve Lamar, directed by George Deaton, Robert Flanigen & Marc Oswald; “Amarillo Sky,” Jason Aldean, produced by Brittany Hailes, directed by Wes Edwards; “Before He Cheats,” Underwood, produced by Randy Brewer and directed by Roman White; “Hillbilly Deluxe,” B&D, produced by Mark Kalbfeld and directed by Michael Salomon. Director: Michael Salomon; and “Seashores of Old Mexico,” Strait,produced by Shelli Jury and directed by Trey Fanjoy. Vocal Event - “Building Bridges,” B&D with Sheryl Crow & Vince Gill, produced by B&D and Brown; “I Don't Want To,” Dunn & Ashley Monroe, produced by Mark Wright; “Me and God,” Josh Turner, Ralph Stanley, Diamond Rio’s Marty Roe, Dana Williams & Gene Johnson, produced by Frank Rogers; “Politically Uncorrect,” Gretchen Wilson & Merle Haggard, co-produced by Wilson, John Rich & Mark Wright; “That's How They Do It In Dixie,” Hank Williams, Jr., Gretchen Wilson, Big & Rich and Van Zant, produced by Doug Johnson.
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