Pianist, accomplished musician and Nashville resident Ben Folds has operated Nashville’s historic RCA Studio A — the 5,000-square-foot live room founded by Chet Atkins and brothers Owen and Harold Bradley, and where the likes of Elvis Presley, Dolly Parton, Jimmy Dean and Eddy Arnold cut many of their classics — for the past 12 of its nearly 50 years of operation.

However, the future of the famed and very historic studio and building are now quite uncertain, as the old RCA Building that houses the studio on Music Row – after much opposition – was recently sold to developer Tim Reynolds, owner of Brentwood, TN-based Bravo Development/Reynolds Properties & Development, LLC, for $4 million. This situation first came to light when Folds' publicist delivered an impassioned open letter (first published by The Nashville Scene) to the city of Nashville and the building’s potential new owners. Folds – who has spent more than $1 million as the space’s tenant and caretaker – along with many Nashville residents and music fans around the world, believe the sale would be a huge travesty to the history of Nashville, Music Row, and music in general, if the building is not preserved by its new owners. His letter also began this petition drive to not only preserve the RCA Studio A building, but also bring a spotlight on the City of Nashville’s and Davidson County’s outright failure to ensure that Nashville’s historical music heritage – including many of its other musically historic and significant structures – are preserved for all future generations to enjoy. The core of the problem is that the City of Nashville and Davidson County do not have a “Historical Overlay” (a plan to save structures of historical significance) for Music Row, or other significant areas of historical value, therefore leaving all land and buildings in a city booming with redevelopment merely “up for grabs” to the highest bidder with no regard for the historical value of any building or structure currently for sale!

In the days following Fold’s initial letter, he posted several updates ... one detailed a phone call from Mr. Reynolds' office acknowledging Mr. Reynolds concerns for the preservation of the studio; another which explained Mr. Folds' reasons for not buying the property himself (posted below); and still another in which Mr. Folds spoke directly from his heart in explaining why he wrote the letter in the first place, and why this movement that started with his letter must now continue beyond just the @SaveStudioA concept and include an even bigger and more unified effort to Save Music Row as a whole – an effort now known as the Music Industry Coalition.

This petition drive seeks to bring worldwide unified attention to this grave matter, and to let our local government leaders know that there are thousands – if not millions – of people all around the world that would love to visit Nashville – some for the first time, and others for their yearly visit – and continue to enjoy its vibrant historical musical legacy for many generations to come.

However, since this petition drive brought national attention to this worthy cause, Mr. Reynolds responded by “reviewing” the feasibility of buying RCA Studio A while still attempting to protect/preserve it "for future generations to enjoy." This was at face value great news, and Mr. Reynolds definitely deserved a huge THANK YOU for acknowledging the historical significance of the Studio, and showing tremendous character in doing so. But this long journey has apparently only just begun.

Since Mr. Reynolds initial response to the outpouring of support to save the building, Nashville’s newspaper The Tennessean is now reporting (July 28, 2014) that Mr. Reynolds not only “officially” became the new owner of the building, having gone through with its purchase for $4 million, but he is now painting quite the bleak picture for its future … even bleaker than the future of the building PRIOR to its purchase!

According to the story in The Tennessean and Mr. Reynolds, the RCA Studio A building is apparently “a building not worth saving”, which we find absolutely absurd. Mr. Reynolds has found a pile of problems within the walls of the building, including asbestos and mold issues. However, he also acknowledges the building’s prime redevelopment potential, which essentially goes against everything he said PRIOR to purchasing it, which now seems was nothing but a a clearly overt attempt to appease the outpouring of support to save the historic structure from demolition. According to The Tennessean, Mr. Reynolds is currently in negotiations with several out-of-state developers who have shown a strong interest in the property, even despite the building’s apparent problems.

“We're talking about a 50-year-old building,” Mr. Reynolds told The Tennessean. “The elevator's bad. The roof's bad. The wiring is bad. The plumbing is bad. It has asbestos and the duct work has mold. These folks who are passionate about the building must stop and take a deep breath.”

We now have one question: If the building was in such bad shape, then why did he buy it? Does anyone else find this to be a bit hypocritical?

The story in The Tennessean also reports that Mr. Reynolds has sent a letter to his approximately 30 tenants explaining that he would be “recalculating their rent payments,” because “between repairs and cost of operation, the current rent revenue does not cover expenses.” Yet despite the building's poor condition, according to Mr. Reynolds, developers are still interested in buying it (and – of course – he’s very interested in selling it for a nice profit), and even acknowledged that the building is already up for sale once again!

"I'd rather not disclose what my current negotiations or thoughts are from other buyers,” he told The Tennessean. ‘But, I can tell you surprisingly – considering for this building to be on the market as long as it has – with this spotlight shined on the Music Row area with all the redevelopment, there's a very strong interest from multiple out-of-state developers.”

And that’s exactly what this petition is all about – SAVING NOT ONLY MUSIC ROW, BUT ALSO NASHVILLE’S RICH HISTORIC MUSICAL LEGACY, AND PRESERVING THE VALUE AND SIGNIFICANCE OF THESE AND OTHER LANDMARKS … not only for the City of Nashville, but also for all residents of the State of Tennessee, and the whole world!

We agree with Mr. Folds wholeheartedly, and began this petition drive to help save not only the Historical Landmark that is RCA Studio A, but also Music Row in general from being overcome with redevelopment that would take away the "spirit" that made it so special and iconic in the first place. We firmly believe that the City of Nashville, and the historical organizations and entities mentioned in this petition, need to step in and do everything they can to make sure that any redevelopment plans that include not only Studio A, but also any other significant Music Row landmarks, will preserve the rich historical value and significance of such landmarks for all future generations to enjoy.

Imagine a corporation buying The Colosseum in Rome and tearing it down to build apartments, then setting its sight on the Leaning Tower of Pisa to do the same thing. That's exactly what could happen to RCA Studio A and any other historical landmark along Nashville's famed Music Row. We as a group, as citizens of the great city of Nashville and the world, and as people who care, need to do everything we can to help ensure the property's new owners understand the significance of the building's history. And the same thing needs to happen with any potential new owner(s) of any historical building or landmark along Music Row. Whether you live in Nashville, New York, Los Angeles, London, or anywhere else, we simply cannot stand by and let redevelopment destroy the places that made us what we are. Nashville is MUSIC CITY USA, and RCA Studio A and all the other musical landmarks along Music Row, are the biggest reasons why Nashville became MUSIC CITY USA in the first place. We cannot let this happen ... NASHVILLE AND THE WORLD CANNOT LET THIS HAPPEN! Please sign this petition and let the business leaders and decision makers of Nashville know how you feel.

Thank you in advance for your time and efforts.

Here’s is Ben Fold’s initial letter to the City of Nashville:

Dear Nashville,

Last week, on the day that would have been Chet Atkins' 90th birthday (June 20, 1924), my office received news that the historic RCA Building on Music Row is likely to be sold. This building, with the historic Studio A as its centerpiece, was Atkins’ and Owen Bradley’s vision and baby, and had become home to the largest classic recording space in Nashville. Word is that the prospective buyer is a Brentwood, TN-based commercial development company called Bravo Development owned and operated by Tim Reynolds. We don’t know what this will mean to the future of the building.

First off, kudos to the estates and descendants of Atkins and Bradley for doing their best to keep the building alive. They’ve owned the property all these years and could have at any point closed it up or mowed it down. Sadly, it's what happens in the name of progress.

Studio A, which turns 50 years old next year, has a rich history. Here are just some of the artists and groups who have made hits here:

Peter Bradley Adams, Gary Allan, Brent Anderson, Anika, Arlis Albritton, Asleep at the Wheel, The Beach Boys, Ben Folds Five, Tony Bennett, Amy Black, Jason Blaine, Blind Boys of Alabama, Joe Bonamassa, Wade Bowen, Eden Brent, Jim Brickman, The Brothers Osborne, Rachel Bradshaw, Brentwood Benson, David Bullock, Laura Bell Bundy, Ken Burns, The Canadian Tenors, The City Harmonic, Steven Curtis Chapman, Chocolate Horse, Brandy Clark, Brent Cobb, Jesse Colter, Elizabeth Cook, Wayne Coyne, Margaret Cho, Billy Currington, Matt Dame, Danae, Ilse DeLange, Rebecca de la Torre, Steve Earle, ESPN, Jace Everett, The Fabulous Headliners, Dani Flowers, Danny Flowers, Colt Ford, The Frog Sessions, Eleanor Fye, Cami Gallardo, Billy Gibbons, Sarah Gibson, Vince Gill, Alyssa Graham, Peter Groenwald, Harlan Pepper, Harper Blynn, Connie Harrington, Hunter Hayes, John Hiatt, Faith Hill, JT Hodges, Adam Hood, James House, Sierra Hull, Alan Jackson, Joe Jackson, Casey James, Jenny Jarnigan, Jewel, Jamey Johnson, Josh Jones, Kristin Kelly, Kesha, Anna Krantz, Ben Kweller, Lady Antebellum, Miranda Lambert, Sonny Landreth, Samatha Landrum, Mark Lanigan, Stoney LaRue, Jim Lauderdale, Frank Liddell, LIfeway, Meagan Lindsey, Longmont All Stars Jazz Band, Lyle Lovette, Luella and the Sun, Tayla Lynn, Amanda Palmer, John Pardi, Rich Parkinson, Alan Parson, Charlie Pate, Kellie Pickler, Pistol Annies, Pretty Lights, Mike Posner, Sean McConnell, Scotty McCreery, Kate Miller Heidke, Ronnie Milsap, Miss Willie Brown, Danny Mitchell, Allison Moorer, Kacey Musgraves, Musiq Soulchild, David Nail, the Nashville Symphony, Jerrod Neimann, Willie Nelson, Joe Nichols, Sierra Noble, Natalie Noone, The Oakridge Boys, Jake Owen, Rainfall, Johnny Reid, Thomas Rhett, Lionel Richie, The Robertson Family, Henry Rollins, Shannon Sanders, Jader Santos, Alejando Sanz, Mondo Saez, Kate Schrock, Bob Seger, Sera B., Brian Setzer, Nikki Shannon, William Shatner, SHEDaisy, Jordyn Shellart, Joel Shewmake, Sleeping With Sirens, Jake Shimabukuro, Mike Shipp, Kevin Shirley, Anthony Smith, Joanna Smith, Dr. Ralph Stanley, Chelsea Staling, Steel Magnolia, Tate Stevens, Jay Stocker, Rayburn, RED, RockIt City, Jeff Taylor, Justin Towns Earle, Josh Thompson, Those Darlins, Josh Turner, Bonnie Tyler, Carrie Underwood, Keith Urban, Ben Utecht, Phil Vassar, Venus and the Moon, Andy Victor, Amanda Watkins, Chuck Wicks, Hank Williams Jr., Williamson Country Youth Orchesta, Alicia Witt, Lee Ann Womack, Word Entertainment, and Charlie Worsham.

I had no idea of the extent of legacy of this great studio until I become the tenant of the space 12 years ago. Most of us know about Studio B. Studio A was its grander younger sibling, erected by Atkins when he became an RCA executive. The result was an orchestral room built to record strings for Elvis Presley and to entice international stars to record in one of these four Putnam-designed RCA spaces in the world. The other three RCA studios of the same dimensions — built in LA, Chicago and New York — have long since been shut down. I can't tell you how many engineers, producers and musicians have walked into this space to share their stories of the great classic recorded music made here that put Nashville on the map. I’ve heard tales of audio engineers who would roller skate around the room waiting for Elvis to show up at some point in the weeks he booked, stories about how Eddy Arnold recorded one of the first sessions in the room that included the song “Make The World Go Away,” about Dolly Parton’s recordings and mixes here (Jolene, etc), of The Monkees recording here, and so on. Legendary songwriter John D. Loudermilk and his bride were serenaded by a session orchestra hired by Atkins who were recording there for an artist. He recalled that they danced all the way to the loading doors and into their wedding limo, reminiscing about the beautiful floor tiles which still line the entire space. He co-wrote countless numbers of songs with Atkins and many others in this studio.

To this day, Studio A remains a viable, relevant and vibrant space. In recent years these artists and filmmakers have recorded or worked here, to name a few:

Sara Bareilles, William Shatner, Kacey Musgraves, Jewel, Brian Setzer, Ken Burns, Kesha, The Beach Boys, Wayne Cohen, Tony Bennett, Willie Nelson, Kellie Pickler, Hunter Hayes, Charlie Worsham, David Nail, Jamey Johnson, Joe Bonamassa, Word Music, Gary Allan, and me..

While we Nashvillians can feel proud about the overall economic progress and prosperity we're enjoying, we know it's not always so kind to historical spaces, or to the legacy and foundation upon which that prosperity was built.

My motivation for spending over a million dollars in rent and renovations over these past 12 years was simple. I could have built my own space of the same dimensions with that kind of investment. But I'm a musician with no interest in development or business in general. I only want to make music in this historic space, and allow others to do the same. I’ve recorded all over the world and I can say emphatically that there's no recording space like it anywhere on the planet. These studio walls were born to ring with music. I just wanted to keep it alive.

Before the news of the sale I had been in recent talks with other entities on how we could collaborate on allowing visitors to Music City to see the space firsthand and hear its rich history, while also making sure that it stays busy making music history of tomorrow. No one can say now what will become of that idea.

Selfishly I’d like to remain the tenant and caretaker of this amazing studio space. I love it. But if I must let it go in the interest of change, my only hope is that it remain intact and alive. A couple of years ago my co-manager, Sharon Corbitt House, promised the late, great producer Phil Ramone, while he was in town recording Tony Bennett and an orchestra LIVE in this space, that she would do what she could to keep the studio doors open. Ramone had watched the former New York RCA studio transform into office space for the IRS and couldn't bear to see the last of this incredible acoustic design fade away.

So here’s where we’re coming from. Historic RCA Studio A is too much a part of why such incredible business opportunities exist in 2014 in Nashville to simply disappear. Music City was built on the foundation of ideas, and of music. What will the Nashville of tomorrow look like if we continue to tear out the heart of the Music Row that made us who we are as a city? Ultimately, who will want to build new condos in an area that has no central community of ideas or creatives?

We are Music City - the only city in the world truly built on music.

My simple request is for Tim Reynolds or whoever the next owners might be of this property, before deciding what to do with this space, to take a moment to stand in silence between the grand walls of RCA Studio A and feel the history and the echoes of the Nashville that changed the world. I'd like to ask him and other developers to listen first hand to the stories from those among us who made the countless hit records in this studio — the artists, musicians, engineers, producers, writers who built this rich music legacy note by note, brick by brick.

I don’t know what impact my words here will have on anything. But I felt the need to share, and to encourage others who also care about preserving our music heritage to speak up as well.

I believe that progress and heritage can co-exist in mutual respect. Maybe this time we can at least try to make the effort.

Yours,
Ben Folds

Here’s another update from Mr. Folds explaining why HE hasn’t purchased the RCA Studio A building:

Why haven’t I purchased 30 Music Square West myself?

The owners’ asking price has been $4.4 million for the whole property (it’s valued by local govt at $2.4 million) not to be divided. The studio comprises nearly half the building which comprises about one fifth of the footprint of the property.

I’m a touring recording artist and not a developer or real estate mogul. Four million plus clams is well out of my range. As a tenant I’ve been trying to put together a scenario that brings the owners’ asking price, establishes the historical status of the property for preservation, and provides a cash flow for interested developers, but I’m just the dude renting this space. This has become even more feasible now, thanks to overwhelming response to my open letter. Now, with all the players we have on the sidelines, we have more time and I’m positive we can help pull this ambitious plan off. The obvious, easier and more regrettable path involves leveling the building and using the large footprint of the property, taking advantage of the generous zoning to put up condominiums. Let’s be real. Any developer that puts over $4 million into this property does so with intent to demolish and build condos or shopping and that’s probably why the property hasn’t closed yet in the face of public outcry.

As the tenant of 12 years I’ve paid $800k in rent, have thanked the owners privately and publicly, fixed what I could, and made sure the room was still making beautiful music. Mr. Bradley can’t ‘fire back’ because I never ‘fired.’ I have no quarrel with this man or his extended family, and I can sympathize with his plight and understand why he might take the history and acoustics of this room for granted. Maybe his generation can now appreciate that a musician of my generation or younger only has a few examples of the greatness of Studio A left on the planet. It’s a gift that Owen Bradley and Chet Atkins (and Harold Bradley) gave to the world, whether they knew it or not. By a few miracles it’s still standing. I exercised my First Amendment right to express my opinion as the tenant, and it turns out there’s quite a bit of support for what I had to say. If the owners would like to get their asking price, secure their family’s gift to the city and music history, and place the building into the hands of investors that can find the proper cash flow, then I would think I’ve been their best friend. Now they have supporters around the world who are also their best friends. It’s not my property to determine the fate of the building - I’ve just spoken my heart and put my efforts to brokering a solution.

My aim is to make sure historic RCA Studio A is standing and making music of future generations long after we are all gone. By drawing attention to this I also have the opportunity to cast a spotlight on those on Music Row who have been individually struggling with their versions of the same story as they watch bulldozers level acres of our rich music history every day. Now maybe #SaveMusicRow and #MIC can get together with the Mayor, and city and business leaders to galvanize their efforts. The incredible industry Nashville has attracted, from health care to car manufacturing, from future country stars to inspired tourists, are here because they want to be in Music City, and Music Row is the heart of that.

Nashville is good at getting things done. Let’s make progress and secure our lifeblood. Let’s take the tougher, smarter road - get past these few obstacles so we can move on to what we do best – making music.

Yours,
Ben Folds

PS. Here is only a portion of what we know was recording in Studio A, along with a list of what’s been recorded in my tenure. This is only what we know of, there’s plenty more:
Peter Bradley Adams, Gary Allan, Brent Anderson, Anika, Arlis Albritton, Asleep at the Wheel, Sara Bareilles, The Beach Boys, Ben Folds Five, Tony Bennett, Amy Black, Jason Blaine, Blind Boys of Alabama, Joe Bonamassa, Wade Bowen, Eden Brent, Jim Brickman, The Brothers Osborne, Rachel Bradshaw, Brentwood Benson, David Bullock, Laura Bell Bundy, Ken Burns, The Canadian Tenors, The City Harmonic, Steven Curtis Chapman, Chocolate Horse, Brandy Clark, Brent Cobb, Jesse Colter, Elizabeth Cook, Wayne Coyne, Margaret Cho, Billy Currington, Matt Dame, Danae, Ilse DeLange, Rebecca de la Torre, Steve Earle, ESPN, Jace Everett, The Fabulous Headliners, Dani Flowers, Danny Flowers, Ben Folds, Colt Ford, The Frog Sessions, Eleanor Fye, Cami Gallardo, Billy Gibbons, Sarah Gibson, Vince Gill, Alyssa Graham, Peter Groenwald, Harlan Pepper, Harper Blynn, Connie Harrington, Hunter Hayes, John Hiatt, Faith Hill, JT Hodges, Adam Hood, James House, Sierra Hull, Alan Jackson, Joe Jackson, Casey James, Jenny Jarnigan, Jewel, Jamey Johnson, Josh Jones, Kristin Kelly, KESHA, Anna Krantz, Ben Kweller, Lady Antebellum, Miranda Lambert, Sonny Landreth, Samatha Landrum, Mark Lanigan, Stoney LaRue, Jim Lauderdale, Frank Liddell, LIfeway, Meagan Lindsey, Longmont All Stars Jazz Band, Lyle Lovette, Luella and the Sun, Tayla Lynn, Amanda Palmer, John Pardi, Rich Parkinson, Alan Parson, Charlie Pate, Kellie Pickler, Pistol Annies, Pretty Lights, Mike Posner, Sean McConnell, Scotty McCreery, Kate Miller Heidke, Ronnie Milsap, Miss Willie Brown, Danny Mitchell, Allison Moorer, Kacey Musgraves, Musiq Soulchild, David Nail, the Nashville Symphony, Jerrod Neimann, Willie Nelson, Joe Nichols, Sierra Noble, Natalie Noone, The Oakridge Boys, Jake Owen, Rainfall, Johnny Reid, Thomas Rhett, Lionel Richie, The Robertson Family, Henry Rollins, Shannon Sanders, Jader Santos, Alejando Sanz, Mondo Saez, Kate Schrock, Bob Seger, Sera B., Brian Setzer, Nikki Shannon, William Shatner, SHEDaisy, Jordyn Shellart, Joel Shewmake, Sleeping With Sirens, Jake Shimabukuro, Mike Shipp, Kevin Shirley, Anthony Smith, Joanna Smith, Dr. Ralph Stanley, Chelsea Staling, Steel Magnolia, Tate Stevens, Jay Stocker, Rayburn, RED, RockIt City, Jeff Taylor, Justin Towns Earle, Josh Thompson, Those Darlins, Josh Turner, Bonnie Tyler, Carrie Underwood, Keith Urban, Ben Utecht, Phil Vassar, Venus and the Moon, Andy Victor, Amanda Watkins, Chuck Wicks, Hank Williams Jr., Williamson Country Youth Orchesta, Alicia Witt, Lee Ann Womack, Word Entertainment and Charlie Worsham.

PPS Mr. Bradley, ELVIS HAS NOT LEFT THE BUILDING according to a lot mail we’re getting from engineers and musicians who worked on Elvis records in Studio A.