Trick Pony showcased three new tunes. Pictured are (l to r): Trick Pony's Keith Burns, Aubrey Collins and Ira Dean.

The band made a special gold album presentation to longtime friend Nancy Moore. Pictured are (l to r): Trick Pony's Keith Burns and BMI's Nancy Moore, with Trick Pony's Aubrey Collins and Ira Dean.

Pictured after Trick Pony's performance are (l to r): BMI's Jody Williams, Trick Pony guitarist Keith Burns, BMI's Harry Warner, Trick Pony lead vocalist Aubrey Collins, BMI's Perry Howard and Trick Pony bassist Ira Dean, with BMI's Nancy Moore and David Preston.

Photos by E. Dawson

Following the presentation of their BMI cups, the honorees paused for a quick photo. Pictured (l to r) are: BMI's Jody Williams, Windswept's Steve Markland, BMI songwriter Jeffrey Steele and producer Dann Huff

The composer of five No. 1 singles and a barrage of hits for country's biggest stars, his role as producer for artists Montgomery Gentry, Keith Anderson and Trick Pony provides yet another creative outlet for the industrious artist. Brand New Girlfriend (Steve Holy), Me and My Gang (Rascal Flatts) and Something To Be Proud Of (Montgomery Gentry) are just three of a staggering eight albums named after songs penned by Steele. His tracks on upcoming releases by Gretchen Wilson, Pat Green, Montgomery Gentry and Craig Morgan promise to keep the ball rolling.

GAC's Storme Warren snagged a few minutes with the man of the hour, Jeffrey Steele

Steele's indisputable enthusiasm for his work proved infectious. He coached 12 hungry newcomers through his first-ever Songwriting Boot Camp held in Nashville Sept. 22-24. The attendees were hand-selected from hundreds of applicants and worked through an intense three-day, two-night writing seminar closely guided by Steele. For Jeffrey, the goal was simple: "We hope these writers leave challenged with a new perspective on the craft and grow into better writers as a result of their experiences," he shared.

Friends and family gathered to celebrate Steele's 4th no. 1 hit. Pictured are (l to r): Billy Block with Jeffrey and Stephanie Steele

When the two-time NSAI Songwriter of the Year and 2003 BMI Songwriter of the Year celebrated the chart-topping success of Rascal Flatts' "What Hurts the Most" at BMI's Music Row offices recently, the packed room reverberated with the easy chatter of hit songwriters, publishers and well-wishers. Jeffrey Steele relayed the song's back story, voiced his sincere thanks and moved about the room, perhaps already formulating the hook for his next hit song.

Steele's bootcampers took the opportunity to mingle with some of Nashville's top writers. Pictured is (center): BMI hit songwriter James Slater flanked by eager attendees Jeffrey Steele's songwriter bootcamp

Photos by Eric England]]> 2006-09-29T05:00:00-05:00 http://www.bmi.com/musicworld/entry/533098 Artists, Apple, Fiona, Foxx, Jamie, Game, The, Kweli, Talib, Legend, John, Maroon 5, Trick Pony, West, Kanye, Musical Styles, Urban, Musicworld, Feature Declaring on national television that “George Bush doesn’t care about black people” might be a career-killer for most artists — but most artists aren’t Kanye West.

The 28-year-old hip-hop superstar’s ubiquitous single “Gold Digger” (featuring some Ray Charles-ish backing vocals from friend Jamie Foxx) has effortlessly topped pop, r&b, digital and ringtone charts, while sales of its accompanying album, Late Registration (Roc-A-Fella/Def Jam), exceeded two million in less than two months. With eight Grammy nominations and his name on Time magazine’s list of the 100 most influential people in the world, you’d probably think that the artist’s ego is probably as big as his bank account.

“I’m depressed,” he says.

Uh, come again?

“It’s hard when people are depending on you to have an album that’s not just good, but inspired,” he continues, referring to the out-of-the-box success of his debut album, The College Dropout, which in addition to going triple platinum, earned Grammys for Best Rap Album, Best Rap Song and Best R&B Song and launched the catchily meditative “Jesus Walks” into a million consciousnesses. “I mean, my music isn’t just music — it’s medicine. I want my songs to touch people, to give them what they need. Every time I make an album, I’m trying to make a cure for cancer, musically. That stresses me out!”

Any widespread concerns about West’s being a one-Trick Pony were dispelled by “Diamonds from Sierra Leone,” a sweeping single that preceded Late Registration by several weeks and went to the top of the charts, pumped not only by West’s impassioned vocals but also by an ingenious utilization of Shirley Bassey’s James Bond theme, “Diamonds Are Forever.”

The pop smarts were gained from years in the production booth, delivering chart-toppers for Jay-Z, Talib Kweli, Ludacris and Alicia Keys. Indeed, his production work on Jay-Z’s now-classic 2001 album The Blueprint, where he drew upon such sources as the Jackson 5, the Doors and the Temptations to put across Jay’s rhymes, made him the go-to producer in hip-hop.

That success was parlayed into a recording contract, but just as things started cooking, West was involved in a near-fatal auto accident in 2002. “I have flashbacks of what happened every day,” he says. “And anytime I hear about any accident my heart sinks in and I thank God that I’m still here. I found out how short life is and how blessed you are to be here.” The experience informed both “Through the Wire,” which he performed with his jaw still wired shut, and the triumphant “Jesus Walks.”

Flash forward to 2005, and with the help of composer/producer Jon Brion (Fiona Apple, Aimee Mann), West has delivered an album that’s sure to lead many year-end “best of” lists. In addition to Foxx and Jay-Z, Late Registration’s guest list includes Brandy, Paul Wall, Cam’ron, Adam Levine of Maroon 5 and his longtime friend and collaborator John Legend.

The result is an epic in every sense, ranging from the personal to the political, from the romantic to the off-the-wall hilarious. “Crack Music,” with its one-line hook from hip-hop icon The Game, examines the effects of drugs on the black community, as does the searing “Addiction,” wherein West wonders why it is that “everything that’s supposed to be bad makes me feel so good?” On “Bring Me Down,” Brandy lends her soulful voice to West’s cynical raps like “If you ever wanted to ever be anything, there’ll always be somebody that’ll shoot down any dream.”

On the flip side, there’s the infectiously cautionary tale that is “Gold Digger,” as well as the humorous “Drive Slow” with Wall, not to mention the breezy, harmonious confection with Levine on “Heard ‘Em Say.”

That he’s accomplished so much in such a relatively short time has, of course, worked to dispel a lot of that “depression” he speaks of. (The uproar over his Bush comments during a Hurricane Katrina benefit show didn’t hurt, either.) Of his outspokenness, West says, “People either love it or hate it. People love and hated Muhammad Ali. My grandfather loved Muhammad Ali and my grandmother hated him. But I bet you more people love and remember Muhammad Ali than less. Because he used to talk s**t – ‘Float like a butterfly, Sting like a bee’ – and I think I say the same kind of things in my own statements. It’s like, you can’t please everybody, but if anybody’s got a shot, it’s me.”

The 28-year-old hip-hop superstar’s ubiquitous single “Gold Digger” (featuring some Ray Charles-ish backing vocals from friend Jamie Foxx) has effortlessly topped pop, r&b, digital and ringtone charts, while sales of its accompanying album, Late Registration (Roc-A-Fella/Def Jam), exceeded two million in less than two months. With eight Grammy nominations and his name on Time magazine’s list of the 100 most influential people in the world, you’d probably think that the artist’s ego is probably as big as his bank account.

“I’m depressed,” he says.

Uh, come again?

“It’s hard when people are depending on you to have an album that’s not just good, but inspired,” he continues, referring to the out-of-the-box success of his debut album, The College Dropout, which in addition to going triple platinum, earned Grammys for Best Rap Album, Best Rap Song and Best R&B Song and launched the catchily meditative “Jesus Walks” into a million consciousnesses. “I mean, my music isn’t just music — it’s medicine. I want my songs to touch people, to give them what they need. Every time I make an album, I’m trying to make a cure for cancer, musically. That stresses me out!”

Any widespread concerns about West’s being a one-trick pony were dispelled by “Diamonds from Sierra Leone,” a sweeping single that preceded Late Registration by several weeks and went to the top of the charts, pumped not only by West’s impassioned vocals but also by an ingenious utilization of Shirley Bassey’s James Bond theme, “Diamonds Are Forever.”

The pop smarts were gained from years in the production booth, delivering chart-toppers for Jay-Z, Talib Kweli, Ludacris and Alicia Keys. Indeed, his production work on Jay-Z’s now-classic 2001 album The Blueprint, where he drew upon such sources as the Jackson 5, the Doors and the Temptations to put across Jay’s rhymes, made him the go-to producer in hip-hop.

That success was parlayed into a recording contract, but just as things started cooking, West was involved in a near-fatal auto accident in 2002. “I have flashbacks of what happened every day,” he says. “And anytime I hear about any accident my heart sinks in and I thank God that I’m still here. I found out how short life is and how blessed you are to be here.” The experience informed both “Through the Wire,” which he performed with his jaw still wired shut, and the triumphant “Jesus Walks.”

Flash forward to 2005, and with the help of composer/producer Jon Brion (Fiona Apple, Aimee Mann), West has delivered an album that’s sure to lead many year-end “best of” lists. In addition to Foxx and Jay-Z, Late Registration’s guest list includes Brandy, Paul Wall, Cam’ron, Adam Levine of Maroon 5 and his longtime friend and collaborator John Legend.

The result is an epic in every sense, ranging from the personal to the political, from the romantic to the off-the-wall hilarious. “Crack Music,” with its one-line hook from hip-hop icon The Game, examines the effects of drugs on the black community, as does the searing “Addiction,” wherein West wonders why it is that “everything that’s supposed to be bad makes me feel so good?” On “Bring Me Down,” Brandy lends her soulful voice to West’s cynical raps like “If you ever wanted to ever be anything, there’ll always be somebody that’ll shoot down any dream.”

On the flip side, there’s the infectiously cautionary tale that is “Gold Digger,” as well as the humorous “Drive Slow” with Wall, not to mention the breezy, harmonious confection with Levine on “Heard ‘Em Say.”

That he’s accomplished so much in such a relatively short time has, of course, worked to dispel a lot of that “depression” he speaks of. (The uproar over his Bush comments during a Hurricane Katrina benefit show didn’t hurt, either.) Of his outspokenness, West says, “People either love it or hate it. People love and hated Muhammad Ali. My grandfather loved Muhammad Ali and my grandmother hated him. But I bet you more people love and remember Muhammad Ali than less. Because he used to talk s**t – ‘Float like a butterfly, sting like a bee’ – and I think I say the same kind of things in my own statements. It’s like, you can’t please everybody, but if anybody’s got a shot, it’s me.”

Toby Keith	Alison Krauss	Mark Wright

Alison Krauss followed Keith with five CMA nods, including a third consecutive Female Vocalist nomination; Single, Video and Musical Event listings for her work on "Whiskey Lullaby;" and a second Musical Event nod for "How's the World Treating You" from Livin', Lovin', Losin': Songs of the Louvin Brothers.

Brooks & Dunn	Jimmy Buffett

Other BMI talents collecting multiple CMA mentions were Mark Wright and first-time show hosts Brooks & Dunn with three each; and Big & Rich, Jimmy Buffett, Tim McGraw, Joe Scaife and James Stroud with two each.

Big & Rich	Tim McGraw

Multiple BMI-Award winning songwriter/artist Kris Kristofferson. will be inducted to the Country Music Hall of Fame during the CMA Award telecast. Artists including Waylon Jennings, Ronnie Milsap, Ray Stevens and Gladys Knight have recorded songs from his catalog, which features "Me and Bobby McGee," "One Day At a Time," and "Sunday Morning Coming Down."

James Stroud	Julie Roberts	Martina McBride

The CMA Awards show will take place November 9 at the Grand Ole Opry House in Nashville and will be broadcast live on CBS-TV.

BMI's 2004 CMA Awards Nominees

Entertainer of the Year
Brooks & Dunn
Toby Keith
Tim McGraw

Female Vocalist of the Year
Sara Evans
Alison Krauss
Martina McBride

Male Vocalist of the Year
Toby Keith
Keith Urban

Montgomery Gentry	Sara Evans

Horizon Award
Big & Rich
Julie Roberts

Vocal Group of the Year
Alabama
Diamond Rio
Lonestar
Rascal Flatts
Trick Pony

Vocal Duo of the Year
Big & Rich
Brooks & Dunn
Montgomery Gentry
The Warren Brothers

The Warren Brothers	Dolly Parton	Norah Jones

Single of the Year
"I Love This Bar"
Toby Keith
Toby Keith and James Stroud, producers

"Live Like You Were Dying"
Tim McGraw
Byron Gallimore, Tim McGraw and Darran Smith, producers

"Redneck Woman"
Mark Wright and Joe Scaife, producers

"Remember When"
Keith Stegall,
producer

"Whiskey Lullaby"
Alison Krauss

Album of the Year
Here For The Party
Mark Wright and Joe Scaife, producers

Red Dirt Road
Brooks & Dunn
Kix Brooks, Ronnie Dunn and Mark Wright, producers

Shock 'N Y'All
Toby Keith
Toby Keith and James Stroud, producers

Music Video of the Year
"I Love This Bar"
Toby Keith

"It's Five O'Clock Somewhere"
Jimmy Buffett

"Whiskey Lullaby"
Alison Krauss

Musical Event of the Year
"Creepin' In"
Norah Jones with
Dolly Parton

"Hey Good Lookin'"
Jimmy Buffett with Clint Black and Toby Keith

"How's The World Treating You"
Alison Krauss

"When The Sun Goes Down"
Uncle Kracker

"Whiskey Lullaby"
Alison Krauss

Song of the Year
"Live Like You Were Dying"
Tim Nichols, writer
Warner-Tamerlane Publishing Corp., publisher

"Whiskey Lullaby"
Bill Anderson and Jon
Randall, writers
Mr. Bubba Music, Inc., Reynsong Publishing Corp., Sony/ATV Tree and Wha
Ya Say Music, publishers

Musician of the Year
Kenny Greenberg
Electric Guitar

Larry Paxton
Bass Guitar

Broadcast Personality of the Year
Eddie Stubbs
Steve McGrew

Hall of Fame
Kris Kristofferson]]> 2004-09-08T18:00:00-05:00 http://www.bmi.com/musicworld/entry/234134 Artists, Brock, Chad, Collins, Jim, McGraw, Tim, Trick Pony, Urban, Keith, Musical Styles, Country, Musicworld, Hitmaker Texan Jim Collins came to Nashville in 1995, like so many others, looking for a record deal. He and his wife had made an agreement, though: He’d give it one year. He jokes that his wife is still mad, since it took him a year and two days to land a deal with Arista.

Tellingly, though, it took him a mere three months to get a publishing deal.

He’d been writing songs and having them become his most requested material while playing the Texas dancehall circuit, but he thought it was because they were just “different.”

But when searching for songs for his debut album, he wasn’t satisfied. “All the songs I was being pitched had been passed on by…everybody important!” he says with a laugh. “So I started writing to see if I could beat what I was being pitched. When I took them to the label, maybe they thought it was too aggressive or wasn’t the direction they saw me going in, so I’d let the songs go, and I started having hits with other artists.”

The first was with John Michael Montgomery, “Love Working On You,” and another with Ty Herndon, “Hands Of a Working Man,” soon followed. The record deal dematerialized about this time, so Collins made an astute observation: “Maybe I was meant to do something else.”

Indeed he was. He’s had 50 cuts to date — six top 10s and two of those multi-week #1's (“Yes,” four weeks for Chad Brock, and “The Good Stuff,” with Kenny Chesney — a seven-week #1 and Billboard and ACM Song of the Year). He also penned another big hit for Chesney, “She Thinks My Tractor’s Sexy,” and the recent Trace Adkins top 10 “Then They Do.”

With all that success, four BMI Million-Air awards to date, and nine new cuts in the first two months of 2004 with artists as varied as Tim McGraw, Trick Pony and Keith Urban, we wondered if he had any advice for other writers. “Yeah,” he says slyly with that unmistakable jest in his voice. “Stop writing. Everybody else just chill out for a while,” he chuckles. “I’ll handle it from here.”