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RMR CHARTS: The most radio air-played albums and singles of 2016. http://www.rootsmusicreport.com


Zac Brown To Receive CRS 2017 Artist Humanitarian Award; Peter Smyth To Receive Tom Rivers Humanitarian Award

To be presented Feb. 22 during CRS 2017

(Nashville, Tenn. – Jan 5, 2016) – The Country Radio Broadcasters have announced Zac Brown as the recipient of the CRS 2017 Artist Humanitarian Award and former Chairman and CEO of Greater Media, Peter Smyth, as the recipient of the CRS 2017 Tom Rivers Humanitarian Award, to be presented during Country Radio Seminar 2017; following the Opening Ceremonies on Wednesday, February 22nd, 3:30-4:00 p.m.
The CRB Artist Humanitarian Award was created in 1990 by the organization’s board to honor those Country music artists who have exhibited exceptional humanitarian efforts during their career.  Past recipients of the annual award have included Lady Antebellum, Carrie Underwood, Rascal Flatts, Tim McGraw and Faith Hill, Trace Adkins, Randy Owen, Toby Keith, Brad Paisley, Brooks & Dunn, Reba, Vince Gill, Garth Brooks and Charlie Daniels, among others.
Zac Brown is a strong supporter of multiple philanthropic causes including his own Camp Southern Ground which was inspired by his experiences as a camp counselor. The program at the Georgia-based state-of-the-art facility is an inclusive camp that combines children with neuro-developmental disorders with mainstream children.  Its mission is to provide extraordinary experiences for these children to recognize and magnify the unique gifts within themselves and others in order to profoundly impact the world.  Additional organizations that Brown is committed to include GRAMMYS on The Hill, GRAMMY U, MusiCares, Robin Hood Foundation and The USO.
Three-time GRAMMY winner and multi-platinum artist Zac Brown, of Zac Brown Band, is one of music's most heralded acts.  The latest platinum-certified album 'JEKYLL + HYDE' (Southern Ground Artists/John Varvatos Records/Big Machine Label Group/Republic Records) marks the band’s fourth consecutive No.1 debut on the Billboard 200 chart. Zac Brown Band has earned a historic series of fifteen No.1 hit radio singles and is only the second band to top both the country and active rock formats.
The Tom Rivers Humanitarian Award is given at the discretion of the Country Radio Broadcasters Board of Directors to recognize an individual in the Country Radio industry who has displayed a magnanimous spirit of caring and generosity in service to their community.  This award is named in honor of CRB Board member Tom Rivers, who died in 2004 at age 38 of bronchial asthma.  Rivers, known for his work at WQYK, Tampa/St. Petersburg and WUSN, Chicago, was highly regarded for his public service.
An active philanthropist, Smyth currently serves on the Board of Directors of New England Baptist Hospital and the One Hundred Club of Massachusetts, an organization dedicated to enhancing the welfare and safety of the families of public safety officers and firefighters. Additionally, he is an Advisory Board member of the Home Base Program of Boston, which provides clinical care, education, research and support services for military veterans and their families throughout New England.
Smyth is a past member of the Board of Trustees of Emerson College and is a member of the US Trust, Bank of America Private Wealth Management Advisory Board.
In May of 2007, Smyth received the "Humanitarian of the Year" Award from the Hundred Club of Massachusetts. He has also been recognized by Special Olympics of Massachusetts, The USS Constitution, Rogerson Communities (which provides low income housing for the elderly) and the Salvation Army of Greater Boston.
In response to the honor, Smyth commented saying, "I am incredibly honored and humbled to receive this distinguished award.  I look forward to attending CRS in 2017."
Registration for Country Radio Seminar 2017 increases to $699 on January 13.  Individuals that are interested in attending are encouraged to register today at the $599 rate, which is a $100 savings, at www.CountryRadioSeminar.com.
A limited number of Omni Nashville rooms are still available. To book a room, please call 1-800-THE-OMNI (1-800-843-6664) or reserve online by visiting here.
About Country Radio Seminar: Country Radio Seminar is an annual convention designed to educate and promote the exchange of ideas and business practices in the Country music industry, with specific emphasis on issues relevant to Country radio. Country Radio Seminar 2017 is set for Feb. 22-24, 2017 at the Omni Nashville. Visit www.CountryRadioSeminar.com for more information. Follow CRS on Facebook, Twitter (Hashtag #CRS2017) and Instagram.
For more information on Zac Brown contact:
Rebecca Shapiro - Shorefire Media - rshapiro@shorefire.com
Nina Lee - Shore Fire Media - 718.522.7171 - nlee@shorefire.com
Liz Norris - ROAR - 310-424-7800 - media@roar.la



Zac Brown


Peter Smyth




Radio Submit welcomes Roger Wise with KLZR Freq: 91.7
Format: Folk, Blues,Altcountry, Celtic
Website: http://klzr.org Westcliffe, Colorado.

Roger is a serious follower of folk and singer/songwriter music, traveling around the country to visit festivals and concerts to find out the latest trends. His interest in radio was fueled by being a late night volunteer music DJ for KGNU in Boulder. He is active with KLZR radio and serves as underwriting manager using his experience in sales as a manufacturer's representative to help local businesses and organizations determine the best way to support the station. Roger favors a wide variety of music including blues, bluegrass, honky tonk, alt country, and Americana. He and Marcy have been in the valley for several years. When not listening to music he enjoys getting out into nature and fishing. Roger is a member of the Wet Mountain Broadcasting Board of Directors and hosts Fridays at The Coffeehouse Fridays 12PM - 2PM and Celtic and Beyond Mondays 6PM - 8PM.
A big thank you from Radio Submit for downloading new music presented by artists from around the world to be broadcast on your shows.
Robert J Bartosh 

Songwriters, Publishers: Where are your ROYALTIES going?


This is an opinion based on research which is periodically updated

Last update: 01.05.16

Many sources of this research are found at the bottom of this page.


Since the first commercial radio broadcast almost 100 years ago, Terrestrial Radio has been, and continues to be, the major medium to expose new music.  On average, for a songwriter and publisher, a single spin on terrestrial radio is realistically worth about 1.7 cents (when logged), or approximately $1,700.00 for 100,000 spins, while 100,000 streams on Pandora or Spotify you will make approximately $9.00.  You wonder why CD and download sales are down? Consumers are listening to free music (or cheap paid subscriptions), on streaming services rather than paying .99 for a track or 12.99 for an album, while the world's bandwagon is overloaded with more music than there is a demand for. Basically the music has been greatly cheapened because even a moron can now create noise on their computer and upload it to Youtube. When anyone can do this, soon all the music becomes monetarily worthless!  Now that can't be a much clearer picture of where we are headed.  (More information on streaming stats can be found at www.cdtex.com/editorial2.html .)

Radio airplay and venue performances are still the most efficient and profitable means of revenue for legit songwriters and publishers, but only if the PROs update their methodology and use today's technology.  For the instance in this article we will focus on the airplay scenarios.  Until the logging methodology is updated to include the available technology, an unethical and unfair system will continue in place for the independent songwriters and publishers, especially in the Country Music genre. Currently the system is designed to benefit the major label spins in the major markets.  Check the actual radio data and statistics further down this page.

Even before the 21st Century, there was never a fair way of calculating license fees and collecting royalties and the system for reporting airplay, as we know it today, continues to be unfair for the independent writers and publishers.  Until the early 90s, airplay logs were manually written and submitted, some stations more frequently than others, and royalties to copyright holders reported on a quarterly basis. The Major/Large market stations had the brunt of the responsibility in reporting much more often than the small and medium market stations, but nonetheless they were all required to report at given times. Then, around 1990, along came BDS (the Billboard system for gathering data for airplay in major markets, now the Neilson BDS).  It forever changed the way data was gathered for the PROs, and soon became a "gravy train" for the major publishers and before long the major labels and major publishers began consolidating and creating an even bigger threat to the indies. Thus, today, we now have the "BIG 3", and yes, somewhere in that mix lies the PROs.
Out of approximately 11,400 AM and FM commercial stations in the U.S., over 850 belong to iHeartMedia (formerly Clear Channel), based in Texas. Over 450 belong to Cumulus Media, based in Georgia. Over 300 belong to Townsquare Media, based in Connecticut. Over 130 belong to CBS Media, based in New York, and over 130 belong to Entercom, based in Pennsylvania.  Recently Alpha Media (Portland, Oregon) has purchased 116 stations from Digity (W. Palm Beach, Fl.), making a total of 251 stations in 54 markets (mostly small and medium markets). That is 2111 local U.S. stations owned by six companies.  Of course by the time you read this there may have been more mergers and acquisitions.  This consolidation allows companies to promote similar playlists and artists across the format-aligned stations in their networks. Now, keep in mind which stations are preferred when reporting playlist logs to the PROs. Does it not "strike a chord" when out of 11,400 stations, six companies and 2111 stations are basically dictating royalty payments. Do headlines such as "Clear Channel (now iHeart Radio)-Warner Music Deal Rewrites the Rules on Royalties" Ring a bell?  And, to add insult to injury, the "Fair Play Fair Pay" Act has been introduced to Congress mandating that terrestrial radio pay performance fees to artists and labels. This will absolutely kill most indie artists and labels as well as many terrestrial radio stations who play independent music.  Is this just another greedy, Major "BIG 3" attempt to stay afloat on a sinking ship?   "Hello, anybody in there?? McFly!!!" Together, the 'BIG 3' are the judge, jury, and executioners of what was once known as a thriving music industry! (portions of this section from http://www.billboard.com/articles/business/6480591/local-radio-fairness-act-debate-congress)
The most recent research regarding monitoring by the PROs goes something like this:
ASCAP, founded in 1914 by publishers and songwriters, uses MediaGuide and RadioWave for monitoring.  Mediaguide tracks
approximately 2500 radio stations in major markets, and Radiowave monitors approximately 5000 internet  broadcasts.

SESAC, formed in 1930 primarily as a gospel licensing agency, uses BDS for its monitoring of roughly 1600 radio stations as of the
most recent information gathered, (once again, only monitored in major markets). Being a private company, SESAC does not have to
publicly disclose it's royalty collections.

BMI, a non-profit organization founded in 1939 by the broadcasting industry, began using EMR (Electronic Music Reporting) in 2000
and collected approximately 500,000 hours of logged airplay. Today Landmark Digital Services is used for major/large markets.
More information on Landmark Digital at:
For the instances below, we will basically key on BMI for examples.
The following 2 paragrahs are taken from the BMI website. (italics are personal comments)

BMI uses performance-monitoring data, continuously collected on a large percentage (define large percentage) of all licensed commercial radio stations, to determine payable performances. This census information is factored to create a statistically reliable and highly accurate representation of feature performances on all commercial music format radio stations throughout the country. (note: Keep in mind that even if data is collected, it may or may not be used)

Royalties for performances of works in the BMI repertoire that occur on United States commercial radio stations will be paid according to the following rules:
Royalty payments will be based upon the license fees that BMI collected from each individual station that performed a work. As a
result, royalty payment rates will vary from quarter to quarter depending upon the amount of the license fees collected from
stations that aired each work during that quarter. In addition, the rates may fluctuate from quarter to quarter depending upon the
total dollar amount available for each quarter’s commercial radio distribution.
ASCAP and SESAC are similar.  BASICALLY, all three PROs are using the Small and Medium market radio stations to help subsidize the major players in the music industry. The entire system is very top-heavy and greatly favors the few who get heavy airplay from the major markets.  Further down this page are examples of statistics recently gathered.

ONLINE Radio stations (webcasts) must furnish quarterly logs for all play to all 3 PROs and SoundExchange.  Many use SAM Broadcaster or similar programming systems.  This system is automated, and  reports can be sent with a simple command. However, even as terrestrial radio, internet webcast license fees are not necessarily being distributed to the creators of the music which is played on that particular webcast, but rather being paid to the "top tier" publishers and writers. Oh, the PROs may throw you a bone just as a "gesture". The technology is available everywhere now, and along with the BMI EMR logging system, reports can be easily filed over the internet. With few exceptions, most terrestrial stations are using some sort of automation system today, which can handle just about any type of logging and reporting.
Today's technology is available to capture logs from every single spin, from every single broadcast (24-7-365), sort, and give detailed statements and reporting. Every spin can be accounted for either from digitally monitored stations, or logs from the automated broadcast systems. If this technology was utilized it would be a complete and fair system.  Points, of course, would still be used based on licensing fees paid, in determining the actually worth of spins in given markets. Come on people!! If we could put a man on the moon in 1969 without a MAC or PC, just think what the capabilities are today for music reporting, with today's technology. But it seems that the major players in the system are just fine with the "status-quo".
Logging Stats overview:

Now, why is only about 5% of total radio airtime being logged??  And 86% of that logging is coming from the major markets, which actually represents 26% of the total airtime or stations, where basically, only major label music is being played, featuring major publishers and writers. Also, take into consideration the ranking, share, etc. of major market stations. Next, take into consideration the other 74% of airtime, of which only 1% is being logged.  At Best! So, are the license fees of the approx 8700 small and medium market stations subsidizing the majors?  If  small and medium market radio stations licensing fees are not compensating the creators of the songs which they air, then where does all that licensing money go?  Their total spins aren't counted because the PROs only partially log the remaining 8700 stations as an exception, and even at that may not use those logs.  Oh KRAP! With today's technology??  So, are licensing fees actually just  "protection payments" for small and medium market radio? Extortion come to mind?  We will "drill down" a little further down with a more detailed focus on the Country Radio markets.

The BIG 3, Universal, Sony, and Warner all are parent companies of the major record labels and publishing companies, which control 89% of the world's music sales. Starting to get the picture?

Amid declining sales of CDs and downloaded music, the BIG 3's problems illustrate how everyone in the music industry is striving to maintain revenue via airplay and streaming. With a drop in music sales from 26 billion dollars in 1999, to under 15 billion dollars in 2014, no wonder the BIG 3 are scrambling what few assets they have left.  Now they are heavily investing in streaming services such as Sound Cloud, Spotify, Rdio, and others while attempting to cut their losses. More recent news is that now the labels are suing terrestrial radio giants such as iHeart Media, Cumulus, and others to stop playing pre-1972 recorded music unless radio pays for it.. Is this just another step in the payola schemes and further corruption of our music business today?  I thought that record companies wanted radio to play their artists' music so it would help promote and drive sales.  Hmmm, with sales dropping and little income from streaming, now the BIG 3 must do all they can just to survive, and they're doing it!  Do they not know they are only cannibalizing themselves and entire music industry? And the losses continue. Warner Music Group's publishing revenue is down and an overall net loss for the company of $80 million for the past two years, while Sony Corp (parent of Sony Music) lost $1.3 billion last year. And, could UMG possibly be dismantled by it's parent company, Vivendi? Investors are now fleeing in droves from the major record companies. Yes, the music business is just as, if not more so, corrupt as our Federal Government!

With the small and medium market radio stations and independent songwriters and publishers subsidizing the BIG 3, someone has to pay for subsidies, and in the end, it seems to be the Independently owned radio stations and the Indie artists.  If this keeps up the entire industry will implode. But, in the mean time, the spin reporting logs will continue to trend more "major friendly" as the subsidies continue. Does TARP and Washington DC come to mind? (for those of you who have a clue about TARP)

And, so it is, the PROs and the BIG 3 have been realizing the bandwagon is overloaded, sales revenue is falling, and the supply and demand has gotten upside down.  Thus, the Indie publishers and writers continue to suffer the consequences while the small and medium market radio stations are at the mercy of the PROs and continue to subsidize the BIG 3 via blanket license payments.  Basically it is, "Shut up and pay the license or quit broadcasting!" Until "THE SYSTEM" is changed to include the available technology to include every reported spin, the system will remain one-sided, top-heavy, and yes, corrupt.  Anyone who is trying to break into the current system will fall prey and those already in the system will not "buck it". Thank God we had those to "buck the system" during the Revolutionary War!! Are there any of those left?

Radio station KRAP pays the blanket license fee to all three PROS's.  Broken down like this.  BMI approx 8,500,000 songs, ASCAP approx 7,000,000 songs, and SESAC approx 500,000 songs. By the way, probably only 5% of the songs in the PROs' catalogs have ever been recorded, and who know just how many have actually seen airplay. Just a hunch. Oh, You would think SESAC would take a significant cut in license fees for its 2% share of the pie, but that's another subject. Now back to KRAP.

KRAP pays the license fees, a percentage of their gross income, plays music by the Majors plus by Indies such as Johnny Ray Doe, Elmo Floggett, and Ima Hogg, and many others.  What? the PROs don't take their logs?  Oh. Maybe three days per year, at best, as a good will gesture, but even then there is no guarantee that their logs will be used. Some stations haven't reported in years. Is it a random choice or selective choice?  But just make sure KRAP keeps paying those license fees, because KRAP wants to keep the radio station open and the "BIG 3" need the subsidies. Get it? More and more its starts sounding just like the Big E word....EXT#%**%N! On another upside down note, for most broadcasters, falling advertising revenue and rising license fees could badly jeopardize the broadcast and music industry.

Another interesting article can be found below regarding the reporting systems: Music's Data Problem May Be Depriving Artists of
Significant Revenue.
BMI Electronic Music Use Reporting (taken from the BMI website)
BMI’s Electronic Music Use Reporting System provides BMI’s radio station customers with the ability to file playlist information through the website. Radio Station customers will need to enter personally identifiable information about themselves, and additional information about their station and about the music they play. All information provided to BMI through the Electronic Music Use Reporting System is stored on an internal BMI computer which is not accessible to the public. Any personally identifiable information can be modified at your request by forwarding an e-mail to playlists@bmi.com or calling the Logging Department at 615-401-2000.
BMI will use this information to distribute royalties to BMI-affiliated writers and publishers. In addition, BMI may use the information for internal market share analysis, for external negotiations, and for other purposes. BMI may also use aggregated information for marketing and promotional purposes.
BMI does not presently share any personally identifiable information provided through the Electronic Music Use Reporting system with third parties without first obtaining your permission.


Below is a breakdown, basically using BMI as the scapegoat, but keep in mind all 3 PROs work basically the same from the top down. For an example we are using the major markets as digitally logged, and the remainder as manually logged or automated by the local radio station broadcast software. Not knowing the exact number of hours that are actually monitored (research shows anywhere from 500,000 logged hours, to 4,000,000 total monitored hrs), we will use the larger number for all formats just to be generous.


Approximately 244,000,000 Weekly Listeners spend an average of 2.5 hours per day listening to over 50 formats of radio.
Approximately 77% of the U.S. population (317 million) is 12+.
Collectively, 171 million millennials, Gen Xers, and boomers make up more than 70 percent of the radio audience. Broadcasters now say that streaming accounts for 10%-15% of total listening for some stations with 10%-25% of that occurring on mobile devices.


15,400+ TOTAL RADIO STATIONS nationwide spanning 50 different formats, reaching 91% of nearly every 12+ demographic.
Approx 4800 AM
Approx 6600 FM
Approx 4000 Non-Profit FM


APPROX HOURS LOGGED: 4,000,000 HRS (according to musiccopyrightnow.com)

2,300 MAJOR/LARGE MARKET RADIO STATIONS (approx 150 markets  182,000,000 pop and 163,800,000 listenership)

BMI LOGGING: APPROX 3,400,000 HRS (digital logging)

9,100 SMALL & MEDIUM MARKET RADIO STATIONS (approx  60,000,000 pop and 54,000,000 listenership)



(Granted, the majority of overall listeners reside in metropolitan markets for the overall listeners of all formats, except the "country" format.)


approx 69,700,000 weekly listeners in all markets in the U.S.(12+)
Country is the top choice of millennials (ages 18-34) and members of Generation X (ages 35-49)...according to Nielson
Recent major market rankings show an average of 8.6 share of the subscribed country radio stations' listeners
(For the purposes below, small and medium markets will represent independent radio stations and markets with a population of less than 300,000.)
(For the purposes of general U.S. population, 317million as of 2014 census)



APPROX HOURS LOGGED:  885,000 HRS  (@5% logging of total hours)
APPROX 154,000,000 YEARLY SPINS (ave. 8 spins per hr/24-365)

125 MAJOR/LARGE MARKET RADIO STATIONS (Using the latest Nielson numbers of 69,700,000 weekly listeners, and top 143 Nielson markets by population of 182,000,000 @ 12+ = 138,600,000 x 91% listeners and a cume share of @8.6%  = approx 12,000,000 listeners.)

BMI LOGGING: APPROX 190,000 HRS (figured @ 17%)
APPROX 8,800,000 YEARLY SPINS (6% Total Spins)

2075 SMALL & MEDIUM MARKET RADIO STATIONS (Using the latest Nielson numbers of 69,700,000 weekly listeners, and the remaining small & medium market population of 135,000,000 @ 12+ = 104,000,000 x 91% listeners and a cume share of 60% = approx 57,700,000 listeners, meaning 83% of all country radio listeners are in the small & medium markets under 300,000.) *Of the approx 2200 Country Radio Stations, approx 1900 are in markets smaller than 50,000 in population, or 91% of the total Small and Medium market Country Radio stations. In essence, approximately 51,000,000 weekly listeners of Country Music Radio are in markets with populations of 50,000 or less.

APPROX 72 HRS PER STATION per year (when logged)
APPROX 145,000,000 YEARLY SPINS (94% Total Spins)

QUARTERLY BREAKDOWN (representing quarterly statements for songwriters and publishers based on small & medium market stations logging 3 days per year and/or 18 hrs per quarter)

83% OF BMI LOGGING IS FROM MAJOR/LARGE MARKETS (w/ 17% share of total country listeners)
17% OF BMI LOGGING IS FROM SMALL/MEDIUM MARKETS (w/ 83% share of total country listeners)
*As you can see, the above statistics are rather upside down.


83% OF DAILY LISTENERS ARE IN SMALL AND MEDIUM MARKETS reaching approx 57.7 million listeners
17% OF DAILY LISTENERS ARE IN MAJOR/LARGE MARKETS reaching approx 12 million listeners


(Approximately 125 reporting stations in markets with populations totaling over 15,000,000)

APPROX 472  RADIO STATIONS That play Country and the Texas / Red-Dirt format

APPROX 1% OF TOTAL AIRPLAY TIME IS POSSIBLY LOGGED  (with exception of the BDS markets)


Representing quarterly statements for songwriters and publishers based on stations logging 3 days per year and/or 18 hrs per quarter for Texas Country and Red-Dirt music, approximately 1% of the playlists are actually logged with BMI, ASCAP, and SESAC, which means your song has a 1% chance of being reported to the PROs. (Approximately 105 terrestrial reporters and 15 internet reporters to the panels that report to the Texas Regional Radio Report and the Texas Music Chart.)


TEXAS COUNTRY STATIONS:              180



Estimated Breakdown of PRO (BMI) License Collections
*The Below is based on recent approximate BMI figures and license fees collected.

Cable, Satellite, TV, etc = approx 26%
YouTube, Spotify, Pandora, Internet, etc = approx 10%
International Sources = approx 30%
Clubs, Venues, Restaurants, etc= approx 14%
US Radio = approx 20%
Market size defined as:
Maj/Lg mkt=pop of 300,000 plus
Sm/Med mkt=pop under 300,000

June 2014-June 2015 BMI Collections - approx $1,000,000,000
Total Commercial Radio Stations = approx 11,000
Total Country Radio Stations = approx 2100
Total approx Maj/Lg mkt country radio stations = 200
Total approx Sm/Med mkt country radio stations = 1900
Approx % of Country radio license collections= 20%
Approx Total Collections from US Radio = $200,000,000
Approx Country Radio Share of License Fees collected = $40,000,000

Iheart Media 2014 Revenue = approx $5 billion @850 stations
Cumulus Radio 2014 Revenue  = approx $1 billion @ 450 stations
Townsquare Media 2014 Revenue = approx $500 million @ 300 stations
(Being generous, we will use 200 Maj/Lg mkt country stations for the calculations below.)
Approx $6.5 billion Major mkt radio revenue @ 1.7% license fee from 200 country stations= $10,500,000
Approximately $53,000 per sta (taking into consideration that ½ of the corporate owned country format stations are in Maj-Lg mkts as defined above)

Approx $ fees collected from approx 1900 Sm/Med mkt radio stations = $29,500,000
Approximately $15,500.00 per sta (this fee range is for Sm-Med mkts under 300,000)

*(Sm/Med market stations are logged an average of approximately 72 hrs per year.  Maj/Lg market stations digitally logged 24/7/365.)

Average annual license fee from Sm/Med market stations = $15,500.00
(these fees range from a minimum license fee vs 1.7% of the station’s gross revenue)
Average spins per year from stations broadcasting 24/7 = 100,000/ @50% BMI= 50,000
Average cost per spin – 31 cents
Less 15% PRO admin fees = 26 cents per song total per song for writers and publishers

Average annual license fee from Maj/Lg market stations = $53,000.00 (based on 1.7% gross revenue)
Average spins per year from stations broadcasting 24/7 = 100,000/@50% BMI= 50,000
Average cost per spin – 1.06 cents
Less 15% PRO admin fees = 90 cents per song total per song for writers and publishers
(As a writer or publisher have you ever received a statement for 45 cents per play in major markets?)


74% of license fees collected from Country Radio are collected from 1900 Small/Medium market radio, however these fees are used to subsidize the payout for the Major publishers and songwriters, by utilizing the Maj/Lg Mkt logs, thereby keeping the BIG 3 and their affiliated publishers afloat.  This is called, “follow the money” by the PROs, however they are not following the money when the bulk is paid by the Small/Med market stations. Will the PROs account for payments made and where?  NO!

So, are the PROs really in bed with the BIG 3?  Is it any wonder that Indie writers and publishers are not receiving royalties for airplay in the Small and Medium markets? Is further proof needed that the PROs are upside down in their logging?

Let’s see.  If BMI claims to have approximately 50% of the repertoire of country songs, that would mean that BMI’s share of the average number of spins per year per station would be approximately 50,000 spins. Based on an average of 100,000 spins per station per year @ 2100 country stations, @ BMI repertoire share of approx 50%, that would be approximately 32 cents per spin, combined for writer and publisher. (16 cents ea), doing away with the so-called algorithms which are designed to screw the indie writers and publishers.  In actuality, even the major writers and publishers would see bigger royalty checks.  Just a thought! Or…what if a system was put into place whereby the total license fees paid by all country radio stations, less a 15% administrative fee, was paid to the songwriters and publishers whose songs were played, based on an updated logging system, which is actually now available.

Imagine a writer has a song played 500 times a year on 100 Sm/Med mkt stations at an average of
.04 per play.  That is $2,000.00 for one year’s airplay from one song.  Wonder why the writer isn’t getting it?  Hmmmmm, and that rate could even possibly be as high as .08, or $4,000.00 for one song for one year, IF LOGS WERE COLLECTED AND USED FROM ALL THE SMALL AND MEDIUM MARKET STATIONS. YES, THE TECHNOLOGY IS THERE AND THE INDIE WRITER AND PUBLISHERS HAVE ALREADY PAID FOR IT!

I am basing all this on the Country Music format simply because the format is the most listened to format of music in the U.S., of which the majority of listeners are in small and medium markets of under 300,000 population. (of which approximately 80% of those listeners are in markets of under 50,000 people.)
Pop, Urban, Jazz, Rock, etc., etc., are probably much closer to being correct in that the majority of listeners are in the major-large markets. Actually, perhaps all formats should be dealt with on a basis as above.  Just an idea.


Researched by Bill Green:  email: bill@bgmnetwork.com
Continuing research and updates posted periodically.
More reading and information at the following links:
http://www.artistshousemusic.org/videos/tracking+for+royalties (from the "horses mouth"...monitoring from the largest stations 24-7)

Visit http://www.bgmnetwork.com/pro_logging.htm for more info..


Pandora announced Monday that it is buying “key assets” from on-demand music streaming service Rdio for $75 million.

The transaction is contingent on Rdio filing for bankruptcy protection, after which it will wind down the Rdio-branded service in all markets. Pandora says it is not acquiring Rdio’s business, just its technology and talent. The transaction is subject to the approval of the United States Bankruptcy Court for the Northern District of California which will supervise an auction for Rdio’s assets, as well as other customary closing conditions. In addition to acquiring technology and intellectual property from Radio, Pandora plans to offer jobs to members of Rdio's workforce after the deal closes. Pandora says it will offer an expanded listening experience by late 2016, presumably an on-demand service like Spotify’s, pending its ability to obtain proper licenses. "Whether streaming through radio, on-demand or in-person at live events, Pandora is building the definitive source for fans to discover and celebrate music," said Brian McAndrews, chief executive officer at Pandora, in a release. "Wherever and however fans want to hear music, we intend to be their go-to destination." The deal follows Pandora’s recent announced purchase of ticketing service Ticketfly. "Adding live music experiences through Ticketfly was a transformative step,” McAndrews said. “Adding Rdio's impressive technology and talented people will fast-track new dimensions and enhancements to our service.”

If you are an independent songwriter or publisher I hope you will read this update! COUNTRY RADIO STATS UPDATE   5/19/2015
83% of Country Radio listeners are in small-med markets under 300,000.
91% of the small-med market listeners are in markets of under 50,000.
17% of Country Radio listeners are in cities and large markets over 300,000.
The PROs (BMI, ASCAP, SESAC) target the large markets for your royalty source, which basically only play major label product which in turn benefit the BIG 3 and their subsideraries. And you wonder why your PRO income is basically “ZILCH”?
Detailed information and analysis can be found at:
www.bgmnetwork.com/pro_logging.htm COUNTRY RADIO FACTS
approx 69,700,000 weekly listeners in all markets in the U.S.(12+)  APPROX 2200 COUNTRY RADIO STATIONS  125 MAJOR/LARGE MARKET RADIO STATIONS (Using the latest Nielson numbers of 69,700,000 weekly listeners, and top 143 Nielson markets by population of 182,000,000 @ 12+ = 138,600,000 x 91% listeners and a cume share of @8.6%  = approx 12,000,000 weekly listeners.) 2075 SMALL & MEDIUM MARKET RADIO STATIONS (Using the latest Nielson numbers of 69,700,000 weekly listeners, and the remaining small & medium market population of 135,000,000 @ 12+ = 104,000,000 x 91% listeners and a cume share of 60% = approx 57,700,000 listeners, meaning 83% of all country radio listeners are in the small & medium markets under 300,000.) *Of the approx 2200 Country Radio Stations, approx 1900 are in markets smaller than 50,000 in population, or 91% of the total Small and Medium market Country Radio stations. In essence, approximately 51,000,000 weekly listeners of Country Music Radio are in markets with populations of 50,000 or less. COUNTRY RADIO ANALYSIS SUMMARY:
83% OF DAILY LISTENERS ARE IN SMALL AND MEDIUM MARKETS reaching approx 57.7 million listeners
17% OF DAILY LISTENERS ARE IN MAJOR/LARGE MARKETS reaching approx 12 million listeners  
Detailed information and analysis can be found at:

BACK ON STAGE ... new website / new single by Robert Bubba Bartosh coming in 2017. Long live Real Country Music.

Robert "Bubba" Bartosh

HOW A HIT SONG GETS MADE FROM INCEPTION TO NUMBER-ONE HIT, WE CONSULTED THE EXPERTS TO DISCOVER HOW THE CHOSEN FEW MAKE IT TO THE TOP. Written By: Kristin Luna For those of you not in the music biz, the process taking a tune from inception to number-one hit can be mind-boggling—especially considering that more than 99 percent of songs sit in a catalog and are never heard. We consulted Natalie Harker at Liz Rose Music, who helped give us a simplified version of how the chosen few make it from idea to chart topper. One
The cowrite is scheduled. Sometimes this happens organically between the writers because they’re buddies; sometimes publishers connect them because they’ve decided that these writers would make sense together, whether they have a relationship or not. Two
The cowrite happens. Around 10:30 a.m. on a weekday, everyone shows up and, amazingly, gets vulnerable with each other trying to come up with the song idea. It can be inspired by a personal experience, a current event, a story one of the writers heard, or something that happened over coffee that morning. Once the idea is pinned down, the song falls into place in just a few hours. The idea is the key. Three
The song is handed in. The writers give it to their publisher, who in turn registers the song with a performing rights organization (PRO). In Nashville, there’s BMI, ASCAP, SESAC, and a few indie ones. Four
The hunt for the song’s home begins. If an artist wrote it and loves it, he or she will hold it for personal use. Otherwise, song pluggers from the publishing companies begin to pitch it. The goal: get the song to whoever needs to hear it in order for the desired artist to hear it—producers, A&R staffers at a record label, artist managers, the artists themselves, or even their spouses, siblings, friends, or band members. There’s no real set of rules for this, and there are amazing stories that involve helicopters and cherry-picking trucks. Five
The artist cuts it. Oftentimes, this means all the above-mentioned potential listeners have to give their thumbs up that the song is incredible. Then the artist’s team gets permission to go in the studio and record it. (But that’s usually not the case, so the process begins anew.) Six
The song makes the album. If it’s not chosen as a single, it will ultimately be called an “album cut,” and that’s kind of the end of the road other than live performances and album sales. Seven
The single is worked at radio. A ton of money is pumped into promoting it to all kinds of media outlets, and the artist plays it like crazy in hopes of climbing the charts. Eight
The song hits number one. If it gets this far, there’s a party and lots of speeches and plaques!

- See more at: http://nashvillelifestyles.com/be…/how-a-hit-song-gets-made…

Nashville Musicians Association President Dave Pomeroy swears in the new Local 257 Executive Board

Nashville Musicians association

(L-R) Jimmy Capps, Jim Brown, tom Wild, Beth Gottlieb, Jonathan Yudkin, Laura Ross and Andy Reiss. Congrats to all... NEW RULING : Airlines must accept musical instruments as carry-on and checked baggage U.S. Department of Transportation Issues Final Rule Regarding Air Travel with Musical Instruments WASHINGTON – The U.S. Department of Transportation today issued a final rule to implement section 403 of the FAA Modernization and Reform Act of 2012, which requires that U.S. airlines accept musical instruments as carry-on or checked baggage on commercial passenger flights, provided that certain conditions are met. “At DOT, we know how important instruments are to musicians and are committed to doing everything we can to ensure that they are not damaged while being transported on airlines,” said U.S. Transportation Secretary Anthony Foxx. “This final rule implements the statute, and it will go a long way towards keeping instruments safe when they fly – from allowing them in the cabin if there’s space for safe stowage, to letting passengers buy a seat for certain large instruments.” The rule requires that each U.S. carrier subject to this regulation allow a passenger to carry into the cabin and stow a small musical instrument, such as a violin or a guitar, in a suitable baggage compartment, such as the overhead bin or a closet, or under the seats, in accordance with FAA safety regulations and the carrier’s FAA-approved carry-on baggage program. Carriers must allow passengers to stow their small musical instruments in an approved stowage area in the cabin if at the time the passenger boards the aircraft such stowage space is available. Under the rule, musical instruments as carry-on items are treated no differently from other carry-on items and the stowage space should be made available for all carry-on items on a “first come, first served” basis. Carriers are not required to give musical instruments priority over other carry-on baggage, therefore passengers traveling with musical instruments may want to buy the pre-boarding option offered by many carriers to ensure that space will be available for them to safely stow their instruments in the cabin. For some musical instruments that are too large to fit in the cabin stowage areas described in the carrier’s FAA-approved carry-on baggage program (e.g., an overhead bin or under a seat), it is sometimes possible to secure them to a seat as “seat baggage” or “cargo in passenger cabin.” Carriers are required to carry large musical instruments in the cabin if the passenger wishing to carry the instrument in the aircraft cabin has purchased an additional seat to accommodate the instrument and the instrument is contained in a case or cover to avoid injury to other passengers, the weight of the instrument does not exceed 165 pounds or applicable weight restrictions for the aircraft, and the instrument can be stowed in accordance with the requirements for carriage of carry-on baggage or cargo established by the FAA. Carriers are not required to provide for this process in their carry-on baggage programs; however the Department encourages carriers that do not currently allow such stowage to amend their programs to allow it, provided that all safety requirements are met. Carriers are required to accept musical instruments in the cargo compartment as checked baggage if those instruments comply with the size and weight limitations provided in Section 403 and the FAA’s safety regulations. The final rule applies to scheduled and charter flights in domestic or international transportation operated by U.S. carriers, regardless of the size of the aircraft they operate. The rule also applies to persons not directly involved in the operation of an aircraft who sell air transportation services to the general public other than as an authorized agent of a carrier. This final rule is issued without notice and comment from the public as it simply implements the statutory requirements. The rule will take effect 60 days after its publication in the Federal Register. The final rule is available on the Internet at www.regulations.gov, docket DOT-OST-2014-0231. In addition to issuing this rule, the Department has also created a webpage (http://www.dot.gov/airconsum…/air-travel-musical-instruments) that provides useful tips and information for consumers on how to prepare for air travel with musical instruments. The Department also sponsored meetings to provide representatives of musicians and airlines an opportunity to discuss the difficulties musicians face when traveling by air. DOT may conduct additional such meetings to further explore ways to better assist musicians and airline personnel ensure the safe carriage of musical instruments.

The Roots Music Express Radio Show presents a best of show

. Robert Bartosh

We will be playing a recap show today. Some of the lighter moments of the past year. Tune in at 106.7 FM and 90.1 FM or online at www.kzmu.orgtoday 2pm MST or listen 24/7 on the front page ofwww.rootsmusicreport.com Ruf Records releases 20th anniversary album to radio via: Radio Submit.


Roots Music Reports, Shane Bartosh has been officially named Music Director at KZMU FM 90.1 & 106.7.
Covering the following areas. Moab, Monticello, Castle Valley, La Sal, Thompson Springs, Crescent Junction and Green River, Utah. He will now be selecting which new music releases will be added to the stations playlist. 
Att: Radio Promoters and Artists. 
Call times are every Monday between 10am till 2pm MST. Phone 435-259-5968  — with Shane Bartosh.
Shane Bartosh

LINDA RONSTADT – THE DUETS  15-Song Collection Spotlights Many Of The Pioneering Singer’s Most Memorable Collaborations,
Including Aaron Neville, Emmylou Harris and James Ingram As Well As A
Previously Unreleased Duet With Laurie Lewis Available April 8, Days Before Her Induction Into the Rock and Roll Hall of Fame Linda-Ronstadt

LOS ANGELES – Linda Ronstadt is one of the most popular and versatile singers in all of music, bridging multiple genres and styles with great success. She has a long history of collaborations with such varied artists as Aaron Neville, Emmylou Harris, Don Henley, Frank Sinatra, James Taylor, Dolly Parton, James Ingram and more. Rhino brings together 14 of her most memorable musical partnerships, along with a previously unreleased collaboration with Laurie Lewis, for a new collection that was created with help from Ronstadt and her longtime manager, John Boylan. LINDA RONSTADT DUETS will be available on April 8 for a suggested list price of $11.98. The album will arrive just days before Ronstadt is inducted into the Rock and Roll Hall of Fame on April 10. The honor recognizes her role as a pioneering female artist and pays tribute to her exceptional musical legacy, which has earned 12 Grammy® Awards, two Academy of Country Music Awards and one Emmy®. Last year, Ronstadt released her best-selling memoir Simple Dreams and also revealed that she had been diagnosed with Parkinson’s disease, which left her unable to sing. Although her singing voice may have been silenced, this collection shows why her songs never will be. Several songs on this collection are also Grammy winners. Ronstadt won her first in 1976 for a cover of Hank Williams’ “I Can’t Help It (If I’m Still In Love With You)” that featured Emmylou Harris and appeared on what many consider her masterwork, Heart Like a Wheel (1974). Another Grammy-winner featured on DUETS is “Somewhere Out There,” which Ronstadt recorded with James Ingram in 1986 for the soundtrack to An American Tail. DUETS also includes two of her most successful collaborations, both of which feature Aaron Neville. The Grammy-winning songs “Don’t Know Much” and “All My Life” originally appeared on Ronstadt’s triple-platinum album Cry Like a Rainstorm, Howl Like the Wind (1989).  In 1976, she and Don Henley sang the Warren Zevon-penned track “Hasten Down The Wind,” which was the title track to Ronstadt’s Grammy-winning, #1 album. It was her third consecutive million-selling album, an accomplishment no other female artist had achieved at that point. DUETS also spotlights a number of Ronstadt’s more recent collaborations, like “Sisters” with Bette Midler, which appeared on Bette Midler Sings the Rosemary Clooney Songbook (2003). That same year, Ronstadt partnered with Carl Jackson on “The New Partner Waltz,” for the Grammy-winning tribute album Livin’, Lovin’, Losin’: Song of the Louvin Brothers. DUETS also includes three tracks from Adieu False Heart – a Grammy-nominated album Ronstadt recorded in 2006 with Cajun-music singer Ann Savoy – including a cover of the 1966 hit, “Walk Away Renée.”  LINDA RONSTADT DUETS
Track Listing 1.                  “Adieu False Heart” with Ann Savoy
2.                  “I Can’t Get Over You” with Ann Savoy
3.                  “Walk Away Renee” with Ann Savoy
4.                  “The New Partner Waltz” with Carl Jackson
5.                  “I Never Will Marry” with Dolly Parton
6.                  “Pretty Bird” with Laurie Lewis*
7.                  “I Can’t Help It (If I’m Still in Love With You)” with Emmylou Harris
8.                  “Hasten Down The Wind” with Don Henley
9.                  “Prisoner In Disguise” with J.D. Souther
10.               “I Think It’s Gonna Work Out Fine” with James Taylor
11.               “Don’t Know Much” with Aaron Neville
12.               “All My Life” with Aaron Neville
13.               “Somewhere Out There” with James Ingram
14.               “Sisters” with Bette Midler
15.               “Moonlight In Vermont” with Frank Sinatra *previously unreleased


Nu-Blu talks about a decade of music on their new video. Check out the video at https://www.youtube.com/watch?v=_RfRxzIdb98
Congrats to the band. A RMA favorite.


According to one survey by The Future of Music Coalition, about 43% of artists and musicians currently lack health insurance. This is roughly 2.5x higher than the average national rate. SonicScoop’s Justin Colletti breaks down what the January 2014 implementation of the Affordable Care Act will mean for uninsured musicians and how to get coverage.
From the blog:
It seems natural to assume that as musicians and freelance creative workers, we’re going to be among those who are most affected by the new reforms around health care.
As of 2014, many of us will not only be able to afford health insurance for the first time, most of us will be required to buy it, or face a small tax for choosing to forgo the stuff.
The Insurance Store is Now Open
Despite the ongoing gridlock in Congress, the new Health Care Exchanges opened on October 1, 2013. This allows all of us to begin comparison shopping for health insurance – and to see if we’re eligible for any kind of Federal subsidy towards buying it.
Although the Federal exchanges had some trouble keeping up with the unexpectedly huge amount of traffic that flooded their servers in the first days, they’ve been getting progressively more stable.
The Economist reports that “glitches may be short-lived. Officials and contractors are rushing to fix them. New York’s exchange seems to have recovered. In one week it quadrupled the capacity of its computer servers, and as of October 8th more than 40,000 New Yorkers had signed up for coverage. But other exchanges are making slower progress.”
Earlier this week, I finished my own application, and was up in no time, comparing the cost of new plans on the New York State exchange. If all goes well, I’ll soon have insurance for the first time in a decade.
To get started yourself, visit https://www.healthcare.gov/ I fou.nd that the entire sign-up process took about 1/20th the time of doing my taxes. It may not be instant, but it was over a lot sooner than I expected – even with freelance income to account for. Click on the link below to read more…
Author: Justin Colletti, SonicScoop
Read More/Original Source: http://www.sonicscoop.com/ 2013/10/16/ the-uninsured-musicians-guide-t o-the-affordable-care-act/
Visit the government site here: https://www.healthcare.gov/

If you are a BLUES, REGGAE or JAZZ artist or label and want to get your music played on FM radio in Pittsburgh, PA then get your music to WRCT FM RADIO. They are requesting to be serviced with new music ASAP.... WRCT FM RADIO (One of the new Reporting Stations to the Roots Music Report Charts) First Name: Kevin
Last Name: Amos
Position: Blues , Reggae, Jazz Genre Director
Email: blues (at) wrct.org
Address:5000 Forbes Avenue
City: Pittsburgh
State: PA
Zip: 15213
Country: United States
Call Letters: WRCT-FM
Freq: 88.3
Website: http://www.wrct.org
Station Phone: 412-621-0728


A very informative article from eHOW.com for all folks new to the music biz.
How to Submit Your Music for Programming on SiriusXM Radio.

Last updated April 16, 2012

XM receives a sea of submissions from new artists daily.

Getting your original music played on the radio takes a lot of perseverance and postage. An unsigned band or new artist without name recognition may have to mail out thousands of CDs before one music director will add their song to a station's play list. Sadly, most submissions end up in the trash. Terrestrial radio stations are tightly formatted and generally only play music from established artists and major labels - this makes it even harder to get a break.

XM Satellite Radio offers many more channels and varieties of music for listeners to choose from. XM frequently plays music from indie labels and unsigned bands, so your chances of getting heard are much greater.

Other People Are Reading
How Do You Go to XM on the Computer?
How to Have XM Radio Home & Factory Installed in a Car Radio.

Things You'll Need
Artist bio
Artist photo
Show (3) More

1 Copyright your songs if you haven't done so already. For more information on how to copyright your music, see the US Copyright website.

2 Join ASCAP, BMI and/or SESAC if you are the writer or publisher of the song. These performing rights organizations will make sure you get paid every time your music is played on the radio.

3 Package your music professionally. Eye-catching, unique cover art and photos will get more attention from programmers than a self-labeled CD burned at home.

4 Pay to have your songs professionally recorded, mixed, mastered and manufactured. XM will not play home-made demo tapes.

5 Submit only in CD format. XM Satellite Radio delivers high-quality digital sound and all recordings played on the air must meet that standard.

6 Enclose a brief artist biography and current photos of yourself or your band. Include links to your website or other places where your music can be heard online. Are other radio stations already playing your music? Send a list of stations. If you have reviews, add a press kit to your submission packet.

7 Draft a brief cover letter stating your desire to have your music played on XM. Include the name of the recording artist, CD title, record label name, genre of music, suggested cuts for airplay, and your contact information (or your management company).

8 Mail your submission package to:
Attn: Music Programming Department
1221 Avenue of the Americas
New York, NY 10020

Tips & Warnings

Due to the overwhelming number of submissions XM receives from artists and record labels, a personal response is not always possible.

If you have the budget, hiring an established company (such as Radio Submit) to handle radio promotions for you is a worthwhile investment. Choose a promotions company that has a strong track record for getting artists added to XM Satellite Radio.

Don't keep calling XM to follow-up on your submission. XM does not accept phone calls or emails from artists/labels inquiring about whether a song has been added.

References U.S. Copyright Office: Copyright Your Music
XM/Sirius Satellite Radio: Contact Us
California King Music: Getting Music on Satellite Radio: Who and How

Radio Submit
SESAC: How to Affiliate

Read more: How to Submit Your Music for Programming on XM Radio | eHow.com http://www.ehow.com/how_6956733_submit-music-programming-xm-radio.html#ixzz25BjUjNna

Texas Country the Massive Machine.

It all came about because Texas Radio Stations started playing Texas artists. (Robert Bartosh RMR)
Why don’t all the radio stations in other states do the same thing and start playing artists from their state ???????

The 15 Best Songs From the Past 15 Years of Texas Country/Roots/Red Dirt/Whatever It's Called

The Dallas Observer: by Kelly Dearmore

As we look upon the massive machine Texas country has made chug along over the past several years, it's easy to see 1997 as a pivotal time. In college towns and major metropolises alike, the masses were demanding more music from people that shared their pride, enthusiasm and thirst for something different. Pat Green's fraternity favorite, George's Bar was released, signaling his arrival, as was Jack Ingram's Livin' or Dyin' and Robert Earl Keen's sorely under-appreciated, sound-shifting Picnic .

1998 witnessed releases that made everyone take notice of what was going on south of Dollywood: Charlie Robison's Life of the Party, Cross Canadian Ragweed's Carney, Reckless Kelly's Milican and the debut release from arguably the first geographical interloper the fledgling scene would fully embrace, Kentuckian Chris Knight.

Since the end of the '90s, many studs from the Red River region have shot to stardom and major label deals. Jack Ingram and Pat Green both experienced a healthy dose of mainstream success and chart ascension, while the Randy Rogers Band scored a major label deal while getting to make the music they've wanted, even if the hits haven't been plentiful. Sunny Sweeney found success and Texas-claimed former rodeo cowboy Ryan Bingham won an Oscar. Denton's Eli Young Band has become an A-list group of stars in the world of modern country, thanks to their smash single "Crazy Girl."

Unlike the late-'90s, it is now just fine to get along with the folks on Music Row, even if many around these parts feel as though the cross-pollination of Nashville cheese and Texas grit creates something banal and formulaic.
We at the DC9 decided to gather some local and not-so-local folks to find out what they think are the best 15 songs of the past 15 years when it comes to this most indefinable genre. Some great songs from both rookie and veteran artists barely missed the cut. The list could have been 30 songs and some signature tunes would've still been left off. What we have below are the 15 songs that just about all of the panelists agreed upon, emphasis on "just about all of the panelists."
Here's the panel that provided the votes resulting in the top 15 list:

Matt Hillyer: Lead singer of multi-DOMA winning band 1100 Springs.
Juli Thanki: Editor-in-Chief of Engine 145.Com and the 2011 International Bluegrass Association's Print Media Personality of the Year.

Pat Green: A key yet polarizing figure in the surge of Texas country. His hits include "Wave on Wave," "Carry On" and "Baby Doll."
Brad Beheler: Writes and helps run Galleywinter.com, perhaps the best place to go for anything relating to Texas / Red Dirt music (check out The Drop).
Ronnie Fauss: Dallas-based folk singer/songwriter who has just recorded his debut album for New West Records, due soon.

Cody Canada : Former lead singer for seminal Red Dirt act Cross Canadian Ragweed and now the primary vocalist for the Departed.
Helen Eaton: Former DOMA-winning Americana/country/folk talent buyer at the Granada Theater, who is now helping run the show at Billy Bob's Texas, where she helped line-up special acts for this year's Willie Nelson 4th of July Picnic.

Drew Kennedy: New Braunfels-based troubadour who's written and performed with many of the state's greats. He's just returned from a triumphant set at the prestigious Telluride Bluegrass festival.

Merrol Ray: North Texas-based country rocker who won the Shiner Rising Star award when he fronted his old band, Miles From Nowhere.
Katie Key: Editor-in-Chief of Best in Texas magazine, which publishes the weekly Texas Music Chart, the baraomter for what regional artists are hot at a given moment.

George Dunham: Star of the massively popular, Marconi award-winning morning show on 1310 The Ticket, and lead singer for country act The Bird Dogs.

Amber Farris: Lead singer of Dallas' Somebody's Darling, another recent winner of the Shiner Rising Star award (and the vocalist that this writer dubbed the "country-rock queen of Dallas.").

Rita Ballou: The sauciest blogger in Texas and on-air personality for Waco's 92.9 Shooter FM.
Oh, and myself, because this is my blog post.

15. "Angry All the Time" - Bruce Robison & Kelly Willis
14. "Choctaw Bingo" - James McMurtry
13. "Vancouver" - Reckless Kelly
12."Somewhere Down in Texas" - Jason Boland & The Stragglers
11."The Weary Kind" - Ryan Bingham
10. "Nashville Blues" - Cory Morrow
Morrow's plight of fightin' the man for what he saw as musical equality lives on despite the success of many Texans on the national stage in recent years.- Brad Beheler
09. "17" - Cross Canadian Ragweed
Perhaps the first song that showcased Ragweed's ability to clean up their act and produce a wonderfully written, pristine gem that appealed to our belief that we'll never actually become respected adults in the town we grew up in. - Kelly Dearmore
08. "Things Are Fixin' To Get Real Good" - Deryl Dodd
It's a personal song that's also a really pleasant one to listen to. - George Dunham
07. "God Bless This Town" - Wade Bowen
Another song that mines its material from the wealth of small-town gossip and the people that perpetuate such whisperings. For a state with as many large cities as Texas, it's the not-so-sleepy burgs with flapping tongues that provide the best song material. - Kelly Dearmore
06."Biloxi" - Jack Ingram
You can tell this song is so personal to Jack. People respond to its candid nature. I love it. - Matt Hillyer
05. "My Hometown" - Charlie Robsion
Robison is pure Texan. In this song, he evokes small towns, Friday night football, college revelry, roughnecking and name-checks the largest cities in a candid, believable way. - Brad Behler
04. "Down the Road Tonight" - Hayes Carll
I loved Hayes from the first time I heard him. I love his sense of humor. - Matt Hillyer
03."Carry On" - Pat Green
This was one of the first songs I can truly remember loving from the moment I heard it. And it still does my heart good to sing along at the top of my lungs! - Katie Key
02."Tonight's Not the Night" - Randy Rogers Band
Not only the song that truly started Rogers' ascent into the vanguard of the scene, but this song features a chorus with wordplay that's so natural, it's not really wordplay. A simple yet profound sentiment that anyone can relate to, set to a fiddle-driven, true blue country song. - Kelly Dearmore
01."Feeling Good Again" - Robert Earl Keen
Keen is a sage writer who describes life in Texas with such vivid detail that he makes you feel like you've visited places a thousand times even when you've never been there. Anyone that hears this song is immediately transported to Bandera on a cold winter night while some old friends reconvene at a tiny bar.- Brad Beheler

Written By: Kelly Dearmore, Dallas Observer Texas Music Office Announces Live



Music Grant Program Texas Music Office  AUSTIN – The Texas Music Office, a division of the Office of the Governor, today announced the creation of the Live Music Grant Program, which will fund free, live-music concerts across the state. The program is made possible by a settlement from the Compact Disc Minimum Advertised Price Antitrust litigation and does not utilize taxpayer dollars.  Grant applicants must partner with a 501(c)3 nonprofit organization or a city or county government office willing to pay the upfront cost of the concert. The nonprofit or city/county government organization will then be reimbursed by the Texas Music Office once the grant is approved.  More than $173,000 is available for the program as a result of a settlement from the Compact Disc Minimum Advertised Price Antitrust litigation. The maximum grant amount per concert is $1,500 and grants will be awarded until all the funds have been distributed. No taxpayer dollars will be used to fund these grants.   Texas Music Office also operates the Specialty License Plate program, which awards funds to in-need school children for music lessons or music instruments purchased from a Texas retailer. To date, this program has provided $63,000 to Texas schools.   For more information on the Compact Disc Minimum Advertised Price Antitrust litigation, please visit https://www.oag.state.tx.us/newspubs/newsarchive/2002/20020930pricefixing.htm.   To apply for a Live Music Grant, or for more information about the program, please visit https://www.governor.state.tx.us/music/live_music_grant, or call (512) 463-6666  To purchase a Texas Music License Plate, please visit https://www.governor.state.tx.us/music/plate/main.


Roots Music Report & Radio Submit welcomes Duane Verh as new CD reviewer .Duane Verh

From his first samplings of his older brother’s Elvis records, Duane Verh was a bona fide rock and roll disciple. Cleveland born and bred, Verh has practiced his faith to the cause as musician, writer and music biz professional over the past five decades. A bass player since his teens, he logged most of his time in blues, soul and r&b bands, did “pickup” work with blues greats James Cotton and Otis Spann, and provided Chrissie Hynde her first real band gig in his mid-70’s band Jack Rabbit. (Hynde returned the favor, inviting him to perform on the Pretenders’ 1990 release, Packed. )
Verh has written about the sounds he loves for more than 30 years and has been featured in a number of alternative print and online publications. He’s also spent considerable time in independent music distribution and retail. Verh also works as production partner of his documentary filmmaker wife, Laura Paglin.

Duane is a welcome addition to the Roots Music Report CD reviewer staff and will bring another professional voice to help comment on some of the best music from new and exciting new releases.

Robert Bartosh