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Artist Profile

With high-profile TV appearances, a headlining slot at Coachella and a top-selling album, this pop-rocking quartet is soaring. In an exclusive interview, the band’s Branco discusses Phoenix’s fruitful relationships with indie label Glassnote Records and producer Philippe Zdar.

By Rob Putnam

46 I.C. Green Hit writer-producer Dwight “Skrapp� Reynolds steps to the mic as a new RCA artist.


By Jonathan Widran

Photos by: Arnaud Potier



With some estimates projecting that transactions could total $500 billion in 2013, crowdfunding is one aspect of the music industry that is clearly booming. But is it right for your next project? And, what is the future of crowdfunding—is it here to stay?

By Kurt Orzeck


Ordering Your Custom-Built Instrument

Reviews 48. CD Reviews 50. New Music Critiques 52. Live Reviews

An expert luthier delivers 10 timely tips.


By Jonathan Eric Wilson

Directory of Everything Indie Compiled By Denise Coso

55  Producer Crosstalk: Philip Lawrence . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam  Exec Profile: Michele Clark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann  Songwriter Profile: Jack Tempchin . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel  Tip Jar: Your Film/TV Tunes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Frank Liwall


June 2013

 Close Up  Assignments  New Toys  Book Store  Up Close  Studio Mix  Business Affairs  Signing Stories  Song Biz  Film/TV/Theater  Mixed Notes

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The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information.


Introducing rock-solid high-fidelity digital wireless for performing musicians. Operating in the 2.4 GHz range far from TV interference, Audio-Technica’s new System 10 offers advanced 24-bit operation, three levels of diversity assurance and amazingly clear sound. Wherever


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It’s more than just a Music Festival...




June 2013

...and MANY more!

ounded in 2011 by tech entrepreneur Sean Peace, together with partners Wilson Owens and ‘80s hitmaking artist and producer Reggie Calloway (Midnight Star, Calloway), The Royalty Exchange (TRE) emerged from a need to create a centralized online platform for royalty owners seeking liquidity, and buyers seeking alternative assets in a time when many have lost trust in Wall Street. The exchange is open to all types of royalty streams, including music, film, TV, books, solar energy, pharmaceutical, intellectual property, oil/ gas and more. In creating a transparent and efficient auction-marketplace, the organization’s mission is focused on getting royalty owners top value for their royalty assets, in addition to providing buyers with a simple, secure platform to invest in stable and unique asset class. Valued worldwide at around $11 billion, music royalties are emerging not only as a highly desirable alternative investment, but as a practical and predictable source of income with the added benefit of longevity. “Until now, there has been no managed marketplace for the valuation, sale and purchase of music royalties,” says Peace. “The Royalty Exchange provides the first managed marketplace for music royalty rights by identifying, connecting and accommodating buyers and sellers with turnkey services within a professional, transparent and efficient transactional environment.” TRE evolved from its origins as Song Vest, Wilson Owens launched by Peace in 2008 to sell investors “a piece” of individual songs to fans of artists and songwriters. In addition to receiving regular royalty streams based on their percentage of ownership, the company gave the fans related souvenirs like a gold record and handwritten lyrics. An example of this high-end memorabilia is Earth, Wind & Fire’s Larry Dunn selling a piece of “Shining Star” for $65,000. Among the other songs up for purchase was the “Theme from The Monkees.” Song Vest also netted over $100,000 for Stryper frontman Michael Sweet. Calloway joined forces with Peace and Owens to create The Royalty Exchange after connecting as a client of Song Vest. “Ultimately,” says Peace, “we weren’t able, with Song Vest, to get larger artists and the people who were investing were mostly fans of the clients we had. My partners and I realized the solution was to flip the model so that we wouldn’t be selling songs and their royalties as memorabilia, which only appeals to a limited fan base. We wanted to help provide artists with a way to generate full market value for their royalties—which were becoming increasingly desirable among investors—whether that meant selling a song catalog or a percentage of one. “The Royalty Exchange was born out of the idea of selling full and partial catalogs to high net wealth individuals who were looking at the time for attractive alternative investments in the wake of the 2008 crash. They could make a steady, low-risk return on their money by paying songwriters, artists and producers for years of potential royalties up front.” Buyers are given detailed information about each royalty asset up for auction (including 2-3 years of revenue history) so they can make an informed purchase. The TRE marketplace is formatted in a way that allows sellers to offer royalties when they want, at the price they want and at the percentage they want—maintaining complete control of their assets at every stage of the process. Peace compares the auctions to eBay, with reserve prices, proxy bidding and a “15 minute” rule that extends an auction if a bid comes in last minute. Not surprisingly, interest from sellers is growing, coming from a variety of content categories and genres. TRE has managed royalty sales of songs from artists as diverse as Whitney Houston, Jerry Garcia and Judy Garland, as well as songs from classic Disney films. “The most fulfilling aspect of The Royalty Exchange,” Peace says, “is being in a business where both buyers and sellers are happy and I am able to broker dreams for songwriters and producers that also allow investors to put their money in solid entities. I enjoy creating and being part of an environment where everyone walks away with a smile on their face.” Contact The Royalty Exchange, 919-848-0445

Sarah Westbrook

Jacquelyn Marushka

Sarah Westbrook has joined Sony Music Nashville as Director, Marketing. In her new role, Westbrook will be responsible for the strategy, development and execution of targeted marketing campaigns for her assigned artists, which includes the Arista Nashville roster. Most recently, Westbrook was Vice President of Marketing for SOUL by Ludacris, where she oversaw marketing communications programs for the company’s popular brand of consumer audio products. A marketing veteran specialized in managing artist endorsements and relationships, Westbrook has also served as key member of The Stanton DJ, KRK Systems, Cerwin-Vega and Jensen brand marketing teams. Contact for further information.

Shore Fire Media has announced the opening of its Nashville office, the expansion of its Digital Media department, staff member promotions, and the addition of new staff members. Jacquelyn Marushka has joined Shore Fire as General Manager of the Nashville office. Marushka comes to Shore Fire from Sony Music Entertainment’s Provident Label Group where she rose to VP of Public Relations over 14 years with the company. During her tenure at Provident, Marushka spearheaded publicity for a roster of award-winning artists while managing corporate media relations for the company’s three labels, publishing and distribution arms, and film and home video division. Contact rshapiro@ for other Shore Fire hire information.

Ebony Richardson

Caitlyn Gordon

Tour Publicist Century Media

Promotion Coordinator Red Bow Records

Ebony (Jeanette) Richardson is an entertainment branding specialist currently serving as tour publicist for Century Media Records where she handles tour press coverage for CM artists in all North American markets. In her new position, Richardson is responsible for creating consistent and concise content for breaking news related to CM touring artists. When she isn’t developing and disseminating content, organizing press or starting circle pits at metal concerts, Richardson is a contributing writer for Substream Music Press, a national bi-monthly entertainment magazine based in Delaware, OH. For further information on this new appointment, you can contact Richardson directly at

Red Bow Records, a partnership between BBR Music Group and the country’s largest independent distributor, RED Distribution (a Division of Sony), has announced the addition of its new Promotion Coordinator, Caitlyn Gordon. Gordon joins Red Bow Records from Los Angeles, where she earned a degree in Merchandise Marketing from The Fashion Institute of Design and Merchandising and graduated magna cum laude in her class. With a true passion for country music, Gordon moved to Nashville in order to pursue her dream of working in the country music business. For further information on Gordon’s new position with Red Bow, contact Natalie Kilgore, Dashboard Media, LLC, natalie.

Brian Divine

Gary Dixon

Harman Professional has appointed Brian Divine to the position of Director of Marketing, Loudspeaker SBU. With a proven record of success, highlighted by several years with Harman’s Crown Audio, Divine brings a unique combination of technical expertise, marketing knowledge and industry awareness to the position Divine returns to Harman from Bosch Communications Systems, where he last served as Business Line Manager, Professional Sound for the brands Electro-Voice and Dynacord. Previously, Divine held key positions within Crown Audio for eight years, most notably as Marketing Director of Installed Sound and Touring. For further information on this hire, contact

Audio-Technica U.S., a leader in transducer technology for over 50 years, has announced the appointment of industry veteran Gary Dixon to the position of Sales Engineer - Installed Sound. The announcement was made by David Marsh, Audio-Technica U.S. Director of Sales & Marketing, Installed Sound and Broadcast. In his new position, Dixon will work closely with and report to Marsh. He will also work along side his counterpart, Mark Donovan, Sales Engineer - Installed Sound, and serve as an additional technical resource for the Audio-Technica sales channel in the broad contractor market (installed sound contractors, consultants and architects). For more information, contact

Matt Galvin

Elizabeth Sledge

RCA Nashville’s Matt Galvin has been elevated to Director, Regional Promotion. Galvin will continue to be responsible for the development, implementation and supervision of radio promotional plans for the RCA Nashville roster, including the radio airplay of Bush Hawg, Sara Evans, Miranda Lambert, Love and Theft, Jake Owen, Pistol Annies, Joanna Smith, Tate Stevens and Chris Young. Galvin, a native of Nashville, has a long tenure with the company, most recently serving as Manager, Regional Promotion, RCA Nashville. He first joined Arista Records in 1995 in the mailroom. Galvin graduated from Belmont University with a Bachelor of Business Administration and Music Business Minor. Contact

RCA Nashville’s Elizabeth Sledge has been promoted to Director, Regional Promotion. A 14-year veteran in the industry, Sledge has served as Manager, Regional Promotion in the Southeast region for the RCA Promotion team since 2009. Sledge rejoined the company after working as part of the founding team of Montage Music Group, where she held several positions of increasing responsibility culminating in her role as Midwest/Northeast regional in 2009. She first joined the Columbia Nashville team as a Coordinator in 2002 before being promoted to Northeast Regional Promotion Manager for Epic in 2005. Sledge graduated from the University of North Alabama in 1998 with a major in Business Management. Contact

Director, Marketing Sony Music Nashville

Director of Marketing, Loudspeaker SBU Harman Professional

Director, Regional Promotion RCA Nashville

General Manager, Nashville Shore Fire Media

Sales Engineer - Installed Sound Audio-Technica U.S.

Director, Regional Promotion RCA Nashville

June 2013



DBX PMC 16 PERSONAL MONITOR CONTROLLER The dbx PMC 16 Personal Monitor Controller is the ultimate headphone or monitor speaker mixer; you can control up to 16 channels of audio from anywhere on a live stage or in the studio. Multiple PMCs can be used in an audio system with each user creating his own, unique mix. In addition, the PMC has EQ, panning controls, a variable stereo width control and a choice of built-in Lexicon® reverbs and effects you may add to your own taste. I like its ability to save all settings in up to 16 user-presets—a very handy feature for sharing PMC controllers with other musicians or storing separate presets for each song on stage. The PMC works with traditional on-stage monitor systems, powered personal monitors, in-ear monitors and headphones. Up to 60 PMC units can be used at the same time. The dbx Personal Monitor Controller uses a BLU link audio bus (digital audio over CAT5 networking cables) from the dbx TR1616 Rack mounted 16 X 16 Digital I/O ($2,999.95 MSRP) or any BSS London system. It has a bright LCD screen and Wizard set-up and configuration utility. All inputs and outputs are provided, and its integrated mic stand mount facilitates placement on stage. The PMC has a large channel ID strip that can be written on with a dry-erase marker, making it easy to label channel inputs. There are two XLR outputs for connecting to amplifiers and powered wedge monitors and two 1/4-inch outputs that’ll connect to any balanced or unbalanced line level device such as in-ear transmitters or recording devices. The PMC can be configured to operate with either 48kHz or 96kHz D/A conversion. Each dbx PMC 16 unit sells for $749 MSRP. For much more about the whole system, check out

ZYNAPTIQ UNVEIL SIGNAL FOCUS AND DE-REVERBERATION PLUG-IN The “reverb sponge” is here. Zynaptiq’s UNVEIL is a plug-in that effectively separates out the components of reverberation from the direct or dry sound within mixed signals—recorded monaurally or stereo or in multi-channel surround. It comes in all the popular formats: RTAS, AU, AAX, VST for both MAC and PC. I tested ver 1.6.2 AAX Native here in Pro Tools 10 HD Accel. Based on your own settings of the GUI’s control knobs, you may freely attenuate or boost reverb and shape its character in many interesting ways. Zynaptiq points out that UNVEIL is not a gate or transient modifier or any other dynamic processor that removes soft or low level sounds during gaps in program audio. UNVEIL actually removes reverb while audio is playing. According to Zynaptiq, it uses “artificial intelligence technology to recognize reverb and various perceptively insignificant components and then uses this knowledge to de-mix/separate those components from the signal.” In my music mixing work, I’m just starting to “get” UNVEIL and how to make good use of it. It is unlike any other plug-in I’ve used before. UNVEIL is available directly from resellers in North America for $369. Visit http://11dmedia. com or for more information, check out

SONNOX OXFORD DYNAMICS AAX PLUG-IN Sonnox added the AAX version of their popular Oxford Dynamics plug-in so I’m ready to go when I upgrade to Pro Tools 11 HDX soon. It runs Native right now in my Pro Tools HD 10 rig and when I get the new HDX card, it’ll run either DSP or Native with exactly the same great dynamic control and performance. In fact, now both AAX versions can be used as a surround buss compressor/limiter. This was previously only possible with the old TDM (DSP Card) version in Pro Tools. Based on algorithms from the Dynamics section of the Sony OXF-R3 digital mixing console, Sonnox’s Dynamics has six individual sections: Compressor, Expander, Limiter, Gate, Side-chain EQ, and the great Warmth sonic enhancer function. Each section has fully independent controls with variable time constant curves (release and attack and hold controls) plus variable knee or soft compression. The AAX versions also have new metering with finer onscreen resolution. The Sonnox Dynamics plug-in is my first “go to” compression/limiter/expander tool when I’m looking for very subtle—nearly invisible control. I like the sound of its modern feed-forward compressor design, the look-ahead feature and its logarithmic side chain processing. For more about upgrade paths, demos and pricing, check out

AUDIO-TECHNICA SYSTEM 10 DIGITAL WIRELESS SYSTEM Worldwide, operating 2.4GHz wireless systems face no local restrictions, licensing or frequency coordination issues, but there are many potential sources of interference in this public use radio band. Everything from WIFI, cordless phones, baby monitors, garage door openers and others use the 2.4GHz band. Audio-Technica’s System 10 Digital wireless builds immunity to all interference by way of three, redundant layers of sophisticated digital technology that are completely invisible to the user. Firstly, the Frequency Diversity layer sends the signal from the transmitter on two dynamically allocated frequencies at the same time—the clearest channel is always used. Secondly, the Time Diversity layer shifts signals very slightly in time (unnoticeable to the user) to multiple time slots in the receiver. This feature maximizes immunity from multipath distortion that has always plagued wireless systems. Finally, Space Diversity uses two antennas on both the transmitters and receivers to maximize signal integrity—usually you see only two antennas on the receivers and this feature all but guarantees solid radio signals 100 percent of the time. System 10 includes the ATW-R1100 single-channel receiver and either a body-pack transmitter or handheld microphone/transmitter. The ATW-R1100 is a diversity digital receiver offering volume control along with an audio peak meter and a successful pairing indicator. Up to eight channels of AT’s System 10 can be used at the same time at the same venue. Multiple system configurations are available, with handheld vocal microphone/transmitters and UniPak® body-pack transmitters designed for use with lavaliere, head worn and instrument microphones as well as electric guitars. Pricing starts at $489 MSRP. See 10 June 2013


ZT AMPLIFIERS EXTORTION PEDAL The ZT Amps Extortion Pedal is a clever combination of analog distortion, colorful tone control, and what ZT calls “spectral DSP.” In standard mode there is a vintage-style analog overdrive whose amount is set by the Drive control. With hot output pickups, distortion comes on quickly at about half-way up on the Drive control when playing full power chords. A Fender Strat’s lower output single coils allow for more of a range of distortion from slightly overdriven sounds to fairly fuzzy sustain for leads. The Tone control is not simply a “more treble, less bass,” but a continuously variable control that sweeps through several different equalizer shapes. A mid-range scoop is found all the way CCW, while a thick mid-range boost is found CW—it’s flat or no EQ at the center position. I like the way this control works—simple and instantly gratifying. Spectral DSP, when activated, connects in series before the analog section. Once engaged, it provides frequency-dependent distortion and it’s easy to get crazy “broken” guitar amp sounds reminiscent of an old Fuzz Face or a Lovetone Big Cheese pedal. Set fully CCW, the Spectral DSP knob gets you added crunch on the low end—particularly good for drop tuned rhythm playing. Swing the Spectral DSP control CW and we get very static-like and fizzy high frequency distortion tones. Spectral DSP’s control knob can also be controlled hands-free with an external expression foot pedal plugged into the Control jack on the side. We like the ZT Extortion pedal for its wide range of overdriven sounds using different combinations and settings of the analog and Spectral DSP sections. We found it “pedal board friendly”—when either section is switched off they are hardwired bypassed. ZT Amps Extortion sells for $269 MSRP. For more, check out html.

SOLID-STATE-LOGIC STEREO BUS COMPRESSOR 500 SERIES The center section’s program bus compressor from the 1980’s Solid-State-Logic’s G-Series analog console is an audio production legend and a big part of the sound of those desks. The availability of the Stereo Bus Compressor in a two-slot module for the 500 Series of outboard racks makes this essential audio production tool available to users of the popular API 500 format modular rack platform. Until now, other than using the consoles themselves, the SSL console sound has only been available by way of the 12 different modules available in SSL’s own modular X-Rack system. The release of the Stereo Bus Compressor 500 module, along with last year’s debut of the Solid-State-Logic 500 E-Series EQ and Dynamics modules, means the classic SSL sound is now available to more users worldwide. The SSL 500 Series Stereo Bus Compressor sells for $2,299 MSRP. Learn more about it at series modules.

KORG VOLCA SERIES ANALOG SYNTHS Korg USA has announced the Volca series of portable, and very cute, analog synthesizers. There are three models, all with MIDI functionality: the Volca Keys lead synthesizer, the Volca Bass synthesizer and the Volca Beats rhythm machine. Each instrument features a loop sequencer for generating and recalling its own phrase-based performance. Volcas use a vintage-style sync in/out or will accept MIDI In to control them together as team players. A good synth for mobile music making and creation, the optional battery operation and built-in speakers allow them to play anywhere—even on the beach—but mind the sand and surf. This 27-key Volca Keys lead synth generates sounds that belie its diminutive size. It has three oscillators, a filter section similar to the classic miniKORG700S, delay effects, and a 16-step sequencer. The Volca Bass, also with three oscillators, is an analog bass line synth and a step sequencer pulled from Korg’s Electribe series. The Volca Beats has six, true analog drum sounds: Kick, Snare, Hi Tom, Lo Tom, Closed Hi Hat and Open Hi Hat. A separate PCM sound engine generates clap, crash and other fizzy sounds. The Volca Series’ nearly infinite adjustability—down to “in between the cracks” of each parameter is only possible using real analog synthesis. In addition, a 16-part sequencer is included to easily add or remove parts. The three Volca Series synths each sell for $149.99 MAP. Additional product information is available at

TRONICAL TUNING TECHNOLOGY I call it a breakthrough! Based on the new Min-E-Tune system from the latest Gibson models, Tronical presents Tronical Tune as a retro-fit-kit to bring perfect, automatic tuning to Gibson, Fender, Epiphone, Ibanez, Charvel, Taylor, Yamaha, and FGN, Stanford guitars with more on the way. Tronical Tune is a guitar self-tuning system that installs in 10 minutes without special tools, drilling or guitar modification and devaluation necessary. Tronical Tune is a small compact battery powered tuning unit that mounts on the back of the guitar’s headstock and is invisible from the front. According to Tronical, your guitar will look, feel, sound and play the same. Pushing one button gets the guitar in perfect tune within seconds. Additionally, the player has immediate access to 12 different alternate tunings plus six custom tunings. Powered by an internal, rechargeable lithiumBARRY RUDOLPH is a recording engineer/mixer who ion battery for up to 300 tunings, the system is a has worked on over 30 RIAA certified gold and platinum one-piece unit mounted on a plate along with six award-winning records. He has recorded and/or mixed: Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, robot machine heads. the Corrs and Robbie Nevil, among others. Barry has The Tronical Tune retro-fit-kit is available at the his own futuristic music mixing facility and also teaches Tronical Components online store and at dealers worldrecording engineering at Musician’s Institute, Hollywood, CA. wide for $299. Check out 12 June 2013

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14 June 2013

By Martin Popoff (hardcover) $35.00

In this beautifully designed, richly illustrated history, prolific rock journalist and noted Rush authority Martin Popoff follows the world-conquering exploits of Geddy Lee, Neil Peart and Alex Lifeson from the band’s formation in Toronto more than four decades ago to their 2012 Clockwork Angels release and subsequent world tour. Popoff’s history is complemented by LP reviews from a slate of highly regarded music writers, a thorough discography compiled by the author himself, and more than 400 photographs and articles of memorabilia, running the gamut from candid backstage images and live performance photography to picture sleeves, gig posters, period print ads, ticket stubs, backstage passes and more. The result is a visually stunning and authoritative review befitting the rock band with one of the world’s most devoted fan bases.

Beat This

Louder Than Hell

From Prashanti Press, this new book by renowned skinsman Mike Shapiro is a comprehensive drumset method book for both the beginner and skilled. It presents a step-by-step, illustrated, reader-friendly book that aims to have drummers playing basic beats immediately.

This oral history-style book takes you from Sabbath to Slipknot to tell metal’s story, with a cast of characters that includes Ozzy, Axl, Mars Bonfire, Richard Christy, George Lynch, Jerry Cantrell, Sully Erna, Corey Taylor, Vicky Hamilton and many more. The book is a brisk, involving, and opinionated read.

The Keyboard Handbook:

How to Rap 2:

By Steve Lodder and Janette Mason (hardcover) $29.99

By Paul Edwards (paperback) $12.95

The latest installment in Backbeats’ Handbook Series, The Keyboard Handbook is a step-bystep course in keyboard playing for musicians of all levels. Beginning with the basics of posture and technique, it offers a series of more than 80 specially written exercises and covers a wide variety of classic and contemporary musical styles from blues to rock, soul to funk, gospel to synth-pop. Comes with a CD.

In this sequel to How to Rap, techniques such as triplets, flams, lazy tails and breaking rhyme patterns are broken down and examined, arming readers with additional tools for their rapping repertoire. For MCs looking to take their craft to the next level, as well as anyone fascinated by rapping and its complexity.

By Mike Shapiro (softcover) $17.95

The Complete Guide to Mastering Keyboard Styles

By Jon Weiderhorn & Katherine Turman (hardcover) $32.50

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Prashanti Press By Jonathan Widran


contemporary publishing industry equivalent of a boutique indie record label, Prashanti Press, LLC ( is a recently launched small publishing house dedicated to producing and distributing various types of thoughtfully developed media. Driven by the passion and vision of its founder Wendy Lippâ&#x20AC;&#x201D;whose brush with a life threatening illness sparked her desire to bring peopleâ&#x20AC;&#x2122;s stories and technical expertise to lifeâ&#x20AC;&#x201D;the Pound Ridge, NY company is inspired by creativity and committed to showcasing works that are rooted in, and reflect a sense of, truth. Though not specifically a music book publisher, Lippâ&#x20AC;&#x2122;s good fortune in knowing and working with Juilliard educated veteran drummer and drum instructor Mike Shapiro led to the publication of Prashanti Pressâ&#x20AC;&#x2122; debut title, an instructional book cleverly called Beat This. The first in a series of books, Shapiroâ&#x20AC;&#x2122;s Beat This is a comprehensive, step-by-step Drums Set Method for both the beginner whoâ&#x20AC;&#x2122;s picking up sticks for the first time and the skilled percussionist who needs to learn to read music. The book describes the basic beats and is geared toward helping beginning to intermediate drummers eventually master the rudiments, gain coordination and facility, build up their â&#x20AC;&#x153;chopsâ&#x20AC;? and Wendy Lipp begin to play more complex beats and fills. Shapiro brings a diverse resume to his work. His studies include every genre of percussion from rock to jazz to classical and world music, and he has developed his own teaching method from 20 years of teaching experience in private studio, classroom and ensemble settingsâ&#x20AC;&#x201D;including the Amadeus Conservatory of Music in Westchester. He has played with everyone from Todd Rundgren to Wynton Marsalis to Leonard Bernstein, and recently finished an off-Broadway run as the drummer for the musical Forever Dusty, based on the life and music of Dusty Springfield. â&#x20AC;&#x153;I originally met Mike through some local gigs I did as a singer,â&#x20AC;? says Lipp, â&#x20AC;&#x153;and the stories I heard about his career really moved me. I knew he had something great going with all of his endeavors. At one point he told me that when he first began studying drums, he was happily going along in his instructional manual when a huge change took place and suddenly the exercises jumped to a harder level of technical skills without any real transition. He never understood why. â&#x20AC;&#x153;Years later as a professional musician and drum instructor, he browsed the shelves at music stores to see if that gap had ever been corrected by anyone,â&#x20AC;? she continues. â&#x20AC;&#x153;He found the same problem in every instructional book he looked at. Writing this book is his way of correcting that important error. The method of playing he describes is that there are certain things that donâ&#x20AC;&#x2122;t change in music, and that every student learns differently, with a different technical progression. Beat This gets readers on the drums immediately, and itâ&#x20AC;&#x2122;s the kind of book that doesnâ&#x20AC;&#x2122;t lose anyone along the way. Heâ&#x20AC;&#x2122;s a technical guy, but he wants to make sure that students donâ&#x20AC;&#x2122;t fall through the cracks that almost lost him.â&#x20AC;? Prashanti Pressâ&#x20AC;&#x2122; other initial offerings are Vena Cava, a book of poetry (available now) by multi-cultural teacher and author Jerome Lawton, and Rock Angel, a romance novel set in the rock music world set for publication in September. The company is also in the development phase with different authors to produce a guitar instructional book and a vocal instruction book (that may emerge in a unique comic book/graphic form). Excited about developing her publishing house as an â&#x20AC;&#x153;open, growing company,â&#x20AC;? Lipp says that Prashanti Pressâ&#x20AC;&#x2122; output is not limited by genre â&#x20AC;&#x201D;and encourages writers of all types (including, of course, musicians and music instructors) to submit selectively to â&#x20AC;&#x153;When I am helping someone bring his or her creativity to a higher level, I feel as though I am nurturing their spirit and life while also fostering the development of my own creativity,â&#x20AC;? she says. Contact Prashanti Press, 413-441-2165

16 June 2013

Oh! O’Star Records Presents RUFUS WONDER'S Most Recent Releases New CD-Rufus Wonder Sings Oldies But Goodies-Covers & Originals "Send For Me", "Kiddeo", "Fever", "You Don't Miss Your Water", "No More Dogging", "Over You", “Cut You aLoose” "Under The Moon", "Get Ready", "Try It Baby", "Superstition". With the bonus track: "Merry Christmas Baby"

RUFUS WONDER’S ALBUM “STITCHED TO YOUR HIP” LOOK! LOOK! LOOK! This is an Exciting Bundle of Funk. Highlights of “Stitched to Your Hip” include the funky hip hop track “Squash It” which features Wonder’s flawless vocals, Bay Area rapper Keldamuzik, rapper D’LaBrie, and Oakland’s producer/musician Bill Jackson. The track has an antiviolence message and is accompanied by a powerful video. Rufus Wonder lets his vocals swing on the funky blues of “Cut You Aloose”. Ladies will not be able to resist the funky come ons from Rufus and seductive funk on “Hey Sexy Lady”. Roll the car windows down and turn up the bass up to ten on the funkafied “P-Funk”. The centerpiece of “Stitched to Your Hip” is the bonus track “For Self Respect and Fair Play” which is characterized by Wonder’s powerful lyrics and vocals. The track also features Bay Area producer Jam G, and Rapper PUP (People Under Pressure)

R&B SOUL VOCALIST. RUFUS WONDER IS ALSO AVAILABLE FOR BOOKINGS For Contacts, or to Buy Rufus Wonder’s CD’S Please go to,, or E-Mail Address: Phones: [510] 238.8601 Also, [510] 459.5802 Mailing Address: 1714 Franklin St., Suite 100-160, Oakland, CA 94612.



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May 2013 45


Three Superstars Converge at Omega in Maryland Gospel legend Yolanda Adams and Gospel producer Donald Lawrence came together for a quick shot at Omega Studios in Rockville, MD, after a recording session recorded by Omega engineer Scotty O’Toole. Pictured (l-r): O’Toole, Adams and Lawrence. For up-to-date news on Omega, see


McCartney Spotted in Burbank, CA In preparation for his upcoming Out There tour, Beatles legend Paul McCartney was seen exiting CenterStaging Rehearsal Studios in Burbank, CA. Sharing the studios with McCartney were the Rolling Stones, and more. See McCartney’s upcoming dates at http://

Massenburg Visits Boston’s Berklee College of Music Renowned producer-engineer George Massenburg visits Boston’s Berklee College of Music twice a year as an Artist in Residence in the Music Production and Engineering Department. Working with Berklee’s Rob Jaczko, Chair of the Dept., Massenburg teaches in real recording sessions with students and shares his vast knowledge of recording, as well as bringing new technology and gear. Pictured in a George Massenburg/Rob Jaczko session is guitarist Molly Tuttle recording with the new Sanken CU-55 side-address condenser microphone. Tuttle is joined by bassist Torey Striffolino. See

These Hearts Track At New Jersey’s Barber Shop Fargo, ND pop-punk band, These Hearts, are recording at The Barber Shop Studios in Hopatcong, NJ. The album is being mixed by Andrew Wade (A Day To Remember, VersaEmerge). Pictured is These Hearts vocalist, Ryan Saunders, at The Barber Shop. For further information, follow @TheseHeartsBand.

Melodic death metalers Amon Amarth have unveiled the details of their ninth studio album. Titled Deceiver of the Gods, the offering was recorded at Backstage Studios in Derbyshire, UK—produced, mixed and mastered by Andy Sneap (Megadeth, Arch Enemy, Killswitch Engage). The cover art was, once again, completed by Tom Thiel and depicts a mythical battle between the Norse Gods Loki & Thor. Deceiver of the Gods will be released in North America via Metal Blade Records on June 25, in Europe on June 21/24 and Japan on June 26th. See Multiplatinum selling singersongwriter Sara Bareilles has announced plans to release her third studio album this summer through Epic Records. It was recorded in Los Angeles and New York with producers including John O’Mahony (Coldplay, Metric) and

Producer Playback “[When producing], every opinion is a valid one, whether you use it or not. Some of the best things happen by having an open relationship [with the artist].” – Ryan Hadlock (Lumineers) Interviewed in MC April 2013

18 June 2013

Mark Endert (Fiona Apple, the Fray, Train). The album’s first single, “Brave,” is currently available via iTunes. Visit http://sarabmusic. com for updates and tour info. Four years after the release of Girl Who Cried Wolf, Sierra Swan decided to start writing during the summer of 2012. And for the first time in many years she knew she did not want to produce her own record. “I produced Girl Who Cried Wolf and learned a lot, but I missed the input of another person, especially someone I trust.” That person turned out to be longtime friend Billy Corgan, who agreed to step into the role of producer for the first time in 10 years after hearing Swan’s new songs. Swan is forgoing signing a record deal and going the direct-to-fan route, releasing her new album exclusively through http://pledg

The National Choose Telefunken


The National have completed their sixth studio album, Trouble Will Find Me. Lead singer and National founder Matt Berninger picked a new U-47 large diaphragm tube microphone from Telefunken Elektroakustik for his self-described “immediate and visceral” vocals. The new album follows 2010’s critical and commercial success, High Violet.


twenty one pilots Perform For Warner YouTube Channel

Neve, Buffett Stop Into Texas Studio Jimmy Buffett met up with console designer Rupert Neve at Blue Rock Artist Ranch and Studio outside of Austin, TX recently. Buffett, accompanied by acclaimed songwriter and producer, Mac McAnally, was in Austin rehearsing his Coral Reefer Band for an upcoming tour. Buffett and McAnally were introduced to the new Neve 5088 console in Blue Rock’s control room, in the presence of its creator. Pictured (l-r): Engineer Charlie Kramsky, Buffett, Neve, McAnally and studio owner Billy Crockett.


Fueled By Ramen duo twenty one pilots recently participated in The Live Room, a Warner Sound original series. The band performed an exclusive recording session at Sunset Sound Studios in Los Angeles, featuring songs from their album Vessel for the online show. The Live Room is an exclusive Warner Sound original series that captures innovative artists performing live recording sessions in iconic recording studios across America. See the performance at

Vintage King Launches Apollo 16 Musicians Institute Upgrades Its Studio C A 32-channel API 1608 console will contribute to the education of many audio engineering students at the Musicians Institute College of Contemporary Music for years to come. The 1608 console can be found in Studio C of the Los Angeles, CA, college and was installed at the beginning of January, just in time for the spring semester. Visit

Universal Audio’s flagship 24-bit/192 kHz audio interface Apollo 16 made its West Coast premiere at VKLA, Vintage King Audio’s new Los Angeles product showroom and studios. On hand for an in-depth look at the Apollo 16 were UA Founder and CEO, Bill Putnam, Jr. and producer-engineer and educator Fabrice “Fab” Dupont. Pictured (l-r) at Vintage King LA’s showroom are UA’s Lev Perrey, Director of Product Management; Erica McDaniel, Directress of Channel and Artist Relations; Fabrice “Fab” Dupont, producer-engineer-educator; Bill Putnam, Jr., UA Founder & CEO; and Shevy Shovlin, VK Director of Partner Marketing/PR.

June 2013 19




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roducer and songwriter Philip Lawrence was an underappreciated Los Angeles artist in 2008 when he, Bruno Mars and Ari Levine formed the production powerhouse, the Smeezingtons. The team have since worked with Lil Wayne, Adam Lambert, Cee Lo Green and have produced many hits including the Mars-accompanied B.o.B No. 1 â&#x20AC;&#x153;Nothinâ&#x20AC;&#x2122; on You.â&#x20AC;? They have also produced Marsâ&#x20AC;&#x2122; Doo-Wops & Hooligans and Unorthodox Jukebox. Marsâ&#x20AC;&#x2122; single â&#x20AC;&#x153;When I Was Your Manâ&#x20AC;? reached No. 1. The drive for the team formation was initially one of necessity. â&#x20AC;&#x153;I met Bruno about seven years ago,â&#x20AC;? Lawrence recalls. â&#x20AC;&#x153;We were both out here trying to make it as artists. Along the way, we learned that weâ&#x20AC;&#x2122;d go work with these well-known producers and, if we were ever to get a song placed, they would get a check from the record label. The writers would have to wait The three most important until the publishing came in, which things heâ&#x20AC;&#x2122;s learned as a sometimes could be well over a year. producer are: One day we were sitting in the car with no money in our pockets. Thatâ&#x20AC;&#x2122;s when we decided to try producing for s $ONT WRITE OFF A SONG TOO ourselves and we enlisted the help of QUICKLY 'IVE IT A CHANCE TO SINK Ari [Levine].â&#x20AC;? IN /FTENTIMES YOULL THINK THAT IT SHOULD BE DEVELOPING A CEREarly on, Lawrence recognized the TAIN WAY 4AKE A STEP BACK AND advantages of working with a team. LISTEN TO IT WITH FRESH EARS â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s strength in numbers,â&#x20AC;? he observes. â&#x20AC;&#x153;Especially if theyâ&#x20AC;&#x2122;re guys you s 4HE VIBE IN THE ROOM IS IM trust and who know you at your best. I PORTANT )VE BEEN IN SESSIONS canâ&#x20AC;&#x2122;t always say that the dynamic beWHERE ONE PERSONS ENERGY IS tween us is better [than working alone] OFF AND IT CAN RUIN IT but I know that itâ&#x20AC;&#x2122;s different and cers *UST SHOW UP )TS EASY TO GET tainly more effective. If Iâ&#x20AC;&#x2122;m working on DOWN ON YOURSELF IF YOU HAVE A an idea by myself, I could be going off PERIOD OF TWO OR THREE WEEKS in a direction that later Iâ&#x20AC;&#x2122;ll discover was WHERE NOTHINGS COMING OUT wrong. When Iâ&#x20AC;&#x2122;m with the group, they *UST SHOW UP AND SOMETHING can say, â&#x20AC;&#x2DC;Dude, thatâ&#x20AC;&#x2122;s kind of corny.â&#x20AC;&#x2122;â&#x20AC;? WILL HAPPEN !S LONG AS YOU Each songwriter has his or her views CONTINUE TO WORK EVENTUALLY on elements crucial to a successful YOU GET WHAT YOURE LOOKING FOR song. In Lawrenceâ&#x20AC;&#x2122;s estimation, there has to be a discernable authenticity. â&#x20AC;&#x153;There are different ways to go about songwriting,â&#x20AC;? he says. â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s the popular radio way and then thereâ&#x20AC;&#x2122;s just outright creativity. I donâ&#x20AC;&#x2122;t think one is any better than the other. But even in those two mediums, the one ingredient has to be talking about something that people care about, whether thatâ&#x20AC;&#x2122;s love, heartbreak or something political. If you can find a point of view and see it through, thatâ&#x20AC;&#x2122;s one thing a song canâ&#x20AC;&#x2122;t be without.â&#x20AC;? The development heâ&#x20AC;&#x2122;s seen in himself in the last few years has been substantial. â&#x20AC;&#x153;The difference between Doo-Wops & Hooligans and Unorthodox Jukebox is huge,â&#x20AC;? Lawrence explains. â&#x20AC;&#x153;The growth from one album to the next was exponential. We had toured and performed in front of large audiences. Being on stage gives you a different feel on what you could be singing. For example, I remember thinking â&#x20AC;&#x2DC;I wish this part of the song lasted longer because people really dig it.â&#x20AC;&#x2122; Maybe when we approach a new song, weâ&#x20AC;&#x2122;ll add more of that to it.â&#x20AC;? To aspiring producers and songwriters, Lawrence advises learning as much as possible. â&#x20AC;&#x153;The more you know about your craft, the better youâ&#x20AC;&#x2122;re going to be,â&#x20AC;? he asserts. â&#x20AC;&#x153;If you want the quick, shortcut way, youâ&#x20AC;&#x2122;re going to have quick, shortcut-sounding songs. When I was coming up, I studied the people that were doing what I wanted to do.â&#x20AC;? When MC spoke with him, Lawrence was immersed in his own album Letters I Never Sent, slated for release on Atlantic. Contact Brandon Creed / The Creed Company, 310-651-5300


Michele Clark

2012. We rented a mansion in Las Vegas and I think 18 writers showed up for four days and three nights. We had a technology school build a studio and then we had little demo stations throughout. We paired up the writers and every artist left with new songs. I still see them hanging out with each other. The next one might be at Jason Mraz’s house. Mark Bryan from Hootie & the Blowfish, we’ll probably have one at his house, too.

CEO / Founder, Sunset Sessions Years with Company: 16 Address: 25832 Piuma Rd., Calabasas, CA 91302 Phone: 818-223-8888 FAX: NA Web: E-mail: Clients: Jason Mraz, the Black Keys, Fun., Matchbox Twenty, Coldplay, Maroon 5, Jack Johnson, Norah Jones, Dead Sara, Beware of Darkness, the Zac Brown Band

Forever Your Ally: Once an artist is an alumnus of Sunset Sessions, they’re forever registrationfree. And once the scheduled artists have played, it opens up to an alumni unplugged jam. Any alum can hang with us, pick up a guitar and play.

BACKGROUND: With 24 years of radio promotion under her belt, Michele Clark has been instrumental in breaking thousands of artists, both major and independent. In doing so, she became frustrated with the typical model for industry conventions and found herself inspired to create Sunset Sessions. Besides recently adding songwriting workshops and the popular social networking Passion Panel, she also co-manages South Africa’s Parlotones. Undividing Radio’s Attention: I did independent radio promotion for smooth jazz and then Triple A when it started. I would see my clients work so hard to get a spot at a convention and then the radio guys we wanted to see the band were never there, because there are 20 things going on simultaneously. The only radio guys that would show up were already fans, which was not who we needed. It occurred to me that I could incur the expense of flying the radio guys in, in exchange for their promise to come listen to the bands. I’ll take care of your airfare, your hotel, I’ll feed you, bring you to a beautiful place and you just give these bands a chance. We actually take roll call, because that’s the deal.

Credit Crunch: People swear I’m rolling in money. The truth is I barely break even. When I sign the contracts with the hotel and put 100 plane tickets on my credit card, I’m having a panic attack. But every time I see these bands break and say, “oh my God, this changed my life,” then I say, “damn it. I’m going to have to do it again.”

“I do everything short of handcuffing radio programmers and music supervisors to the tables and putting duct tape on their mouths. It’s up to the artists to kick some ass.”

One Thing at a Time: Sunset Sessions started off with, like, nine bands. I think our total attendance was 90 people. That was 1998 in St. Thomas. Now we have 40 or 50 bands that play over the course of three days and nights and close to 1,000 attendees. And there’s never one minute where two bands are playing at the same time, so we never compete with ourselves. The main stage shows are to the right and, as soon as those are over, the late night lounge is on the left. We all eat together, we all travel together and we’re all at all of the events, so everybody connects. A United Movement: In addition to radio programmers, I also bring in music supervisors and they hang out with the radio guys. If I can get radio stations and music supervisors to fall in love with a band at the same time, the band goes through the stratosphere. We even bring in TV bookers and the press. Entertainment Tonight did an amazing piece on February’s Sunset Sessions in San Francisco. And the Recording Academy comes. We give them a media room, they interview these artists and put them all over their social media. The Power of Radio: When Dead Sara came, their manager, Isaac Heyman, said, “We just want to find one radio guy who loves us.” And he did. He found one guy in Hartford, CT who fell in love with them who 22 June 2013 22

said, “I’m going to break this band in my market.” He started to play the hell out of “Weatherman.” They were able to take that story and get the next radio station to play it and the next radio station and the next. Then they got the Warped Tour and then they got another tour. Then they got a record deal and started to climb up the charts. That’s how it happens. Passionate Networking: Radio guys and music supervisors don’t usually hang out together. They don’t really know each other, but they want to because the data from each is used for the other. The Passion Panel is like speed dating. Every 10 minutes, everybody changes tables and there are questions in the middle. There are captains who keep the table talking, so everybody meets face-to-face before the convention. On the Road: In 2012, I did three [Sessions]. I won’t do that again. Three was exhausting. So I have two February’s is for Triple A, June’s is for rock and alternative and then we have a Sunset Sessions tour. In November and December, I had four artists—Duncan Sheik, Alpha Rev, Courier and Laura Warshauer—tour 15 cities together. They shared a tour bus, a tour manager and a merch person. We connected at triple A stations in each market and connected a charity whenever possible. So if Toys for Tots was the charity, then any person who brought toys got to go to a meet and greet. Alpha Rev already has a top ten record as a result of the groundwork we did together. Songwriter’s Retreat: We had our first songwriter’s retreat in November

Shifting the Paradigm: The old convention model is that labels sponsor stations. But then they only come to that one artist’s show, because that was the label that sponsored them. I have to get people out of the old way of thinking. People say SXSW is free. It’s not. It costs a fortune, because you have to drive or your label has to fly you there, then you’re going to have to play about eight showcases to get in front of three people. What’s the point? I have 50 radio guys all in the room and it costs the same amount. I take all that sponsorship money and use it to pay for plane tickets, hotel rooms and staff, so your artist has the best showcase opportunity of their career. I do everything short of handcuffing radio programmers and music supervisors to the tables and putting duct tape on their mouths. It’s up to the artists to kick some ass. What I can guarantee is an audience that wants to find new artists and break them. I get emails from radio guys that say, thank you for making me excited about new artists again. If I can get a radio person excited about new artists, I’ve done my job. Making the Bill: If I listen [to an artist] and love them, they’re in. There are certain clients who are always there for me, who make sure I have my headliners or the right radio guys and music supervisors are there. If it’s an artist that’s important to them, they’re in. Some of the music I don’t particularly like, but I know other people will like it. If it doesn’t pass any of those tests, I hand it to my staff and my kids. I try to do everything in my power to stay out of being judge and jury and really giving these artists as much of an opportunity as I can. No Barriers: Reach inside yourself, pull out the essence of you and people will be drawn to that. I learned early in my career that everybody’s just making it up as they go along, so go for it. Stay with the joy and love of it and stay out of the how. Don’t worry about the how. Just follow your joy. The reason I was successful at such a young age was because nobody told me I couldn’t do it.

â&#x20AC;&#x201C; BERNARD BAUR

MUSIC CONNECTIONâ&#x20AC;&#x2122;S Business Affairs delivers up-todate information about the signings of new artists, significant developments at major and indie labels, as well as news of managers and attorneys who are active in the A&R aspect of the music business. So that MC can provide the most current information possible, please send any industry news, buzz or rumors that need to be verified to

OPPS has launched its newest feature, the Music Ops Board. This is a board listing many paying opportunities for up-and-coming artists. Currently there are nearly $50,000 worth of paying jobs listed on the Ops Board including: record labels searching for new artists, music festivals looking for bands, producers, managers and booking agencies looking to sign artists, as well as music websites looking to feature independent acts, and clubs, venues and colleges looking to book artists and more. To find your perfect opportunity, head to musicopsboard. Hellophonic is offering Music Connection readers an innovative opportunity called â&#x20AC;&#x153;Mobile Studio in a Box.â&#x20AC;? If youâ&#x20AC;&#x2122;re an artist looking for an affordable recording, they will bring the studio to you along with a technician, engineer and producer.

Their going rate usually starts at $1000 per song (for a three day period), but for a limited time they are offering MC readers the same services for $500 per song, which concludes with a fully mixed track. Veteran producer, songwriter and musician, Marcus Brown will be helming the operation. Brown has worked with Madonna, Seal, Ozzy Osbourne, Richard Ashcroft and Tricky, to name a few. The company also does video production at very reasonable rates. If interested, you can email, or go to Alchemy Networks, a digital network for urban lifestyle and entertainment, has announced the launch of Rap Battle Network (â&#x20AC;&#x153;RBNâ&#x20AC;?). It is one of the first YouTube paid channels. RBN provides an online destination where rap fans can watch rappers battle against each other in a lyrical fight of the fittest. Initially this channel will be exclusively available to YouTube subscribers and allow access into the underground rap scene throughout US and international cities. To fond out more, go to http:// Old Flame Records, an Independent label based out of Brooklyn, NY, is seeking demos from bands for primarily digital releases with the possibility of limited physical releases. The label is best known for its indie rock acts. The label notes that the music needs to be awesome, you and your band must rule live and most importantly, youâ&#x20AC;&#x2122;ve got to be a professional. You can check out

LADY ANTEBELLUM OFFERS LADYAID Lady Antebellum celebrated the release of their new studio album Golden by MAKING A DONATION TO -USICIANS /N #ALLÂ&#x2C6;ON BEHALF OF ,ADY!)$ ,ADY !NTEBELLUMS foundation formed to raise awareness and generate support for the plight of children locally, nationally and globally who cannot otherwise help themselves. Musicians On Call (MOC) was founded in 1999 with the mission of bringing live and recorded music to the bedsides of patients in healthcare facilities. To date, its volunteers have played for over 350,000 people nationwide. For additional details, go to and

MUSIC ICONS RECEIVE DOCTORATES Berklee College of Music president Roger H. Brown presented honorary doctor of music degrees to legends Carole King, Willie Nelson and Annie Lennox at Berkleeâ&#x20AC;&#x2122;s 2013 commencement celebration. Lennox delivered the commencement address to the graduating class and an estimated 4,000 guests. President Brown also enlisted Kris Kristofferson to present Nelsonâ&#x20AC;&#x2122;s honorary doctorate. The longtime friends had performed a duet of Hank Williamsâ&#x20AC;&#x2122; â&#x20AC;&#x153;Jambalaya (On the Bayou)â&#x20AC;? at the previous nightâ&#x20AC;&#x2122;s concert. Recalling the student performances during his acceptance, Nelson SAID h,AST NIGHT WAS ESPECIALLY TREMENDOUS ) REALLY ENJOYED HEARING EVERYONE PLAY and sing. The history of music is good, but the future is even better, thanks to you folks.â&#x20AC;? For more info and cool pics, visit their releases at http://facebook. com/oldflamerecords, and http://, or submit a demo link to rob@ Iconic jazz label Blue Note (Norah Jonesâ&#x20AC;&#x2122; home) has partnered with music crowdfunding platform ArtistShare to create a new record label devoted to recording and releasing a new generation of jazz artists. Under the arrangement, UMG-owned Blue Note will be involved in the selection of artists, add its logo and promotional support to the release, and if response warrants it, upstream the artist to the official Blue Note roster. While Blue Note/ArtistShare, will be acting as a farm team, artists will retain full ownership of the initial master recordings; and fans helping to fund the project will be involved throughout the creative process. For details, see http:// MTV, VH1 and CMT have announced the launch of an artist opportunities hub on its artist platforms (Artists.MTV, Artists.VH1, and Artists.CMT), where, for the first time, artists can opt into a myriad of massive scale opportunities to build fan reach and engagement by having their music showcased across MTV, VH1, CMT, MTV Hits, MTV Jams, VH1 Soul, CMT Pure and Palladia to potentially reach more than 100 million homes. Artists that create an account can opt into opportunities that will lead to increased exposure and broader fan reach. Fans will be given optimum power since their active support will ultimately decide which artistsâ&#x20AC;&#x2122; are selected for each opportunity. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re going back to our roots of connecting artists to fans and empowering them to June 2013

subsidize, support and help their favorite bands get heard, not just by their friends and peers, but by the entire country,â&#x20AC;? said Van Toffler, President of Viacom Music Group.

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New York City-based I Scream Records has entered into an exclusive, worldwide distribution agreement with Victory Records. I Scream was founded in Belgium by Laurens Kusters in 1994. It is one of the worldâ&#x20AC;&#x2122;s leading international punk and hardcore labels. Tony Brummel, founder of Victory Records said, â&#x20AC;&#x153;I have known Laurens for at least 15 years. He has a great ear as a musician, publisher and label owner, and has a fantastic catalog. His label is a great addition to our stable of distributed labels.â&#x20AC;? For further information, go to http:// and http:// In an exclusive DownCast app release, Amy Grant talks about her new album, How Mercy Looks From Hereâ&#x20AC;&#x201D;her first studio album in 10 years. On the new album, Grant is joined by an impressive array of friends and heroes alike including James Taylor, Carole King, Sheryl Crow, Eric Paslay, Will Hoge, and of course, Vince Gill. To find out more, visit Nettwerk Music Group has announced the signing of Australiaâ&#x20AC;&#x2122;s the Paper Kites to its North American label roster. With their debut EP Woodland and follow-up EP Young North, this indie-folk outfit melds earthy instrumentals to create a perfect backdrop for the bandâ&#x20AC;&#x2122;s harmonies. The standout tracks 23

– BERNARD BAUR from Woodland—“Bloom” and “Featherstone”—have generated over 5 million combined YouTube views. To catch up with this act, you can go to http://thepaperkites. and thepaperkitesband. Pure Noise Records has announced it will be releasing Living with Lions’ Some of My Friends Appear Dead to Me on 7-inch vinyl on July 9th. Fans can expect pre-orders and a new song in the coming weeks. Hailing from Vancouver, BC, Living with Lions have been making waves around the world with several successful releases including two full lengths, Make Your Mark and Holy Shit, as well as the Dude Manor EP. Some of My Friends…will be their first release since 2011. Visit http:// or V-Nasty, a former member of White Girl Mob, is in the studio finishing her still untitled, highly anticipated EP slated to drop this summer. With the Internet success of her most recent music video “Fuck Your Face,” and a recently “verified” celebrity Twitter account, the newly sober V-Nasty has a fresh approach to her music and a fresh label to back it up. Pinnacle Records, whose roster includes artists, Lil J, Jereme Rogers and Prince Malik, has put its full marketing and promotional team behind V-Nasty’s upcoming tour and music. For the latest news, go to


Interscope recording artist and New Jersey native, Ahsan, received a grand honor. The 14-year-old was invited before members of the state’s legislature to be recognized as part of a

Ceremonial Resolution sponsored by Senator Ronald Rice. Raised in Newark’s Seth Boyden Projects, Ahsan managed to steer clear of the factors that could have negatively impacted his future, choosing instead to focus his attention on education and music. His determination paid off as he not only scored a record deal at the tender age of 12, but he also earned a spot on the honor roll in both 8th and 9th grade. Senator Rice took notice, viewing Ahsan as a vision of hope for the youth of New Jersey. Last year, the soulful singer made headlines after his cover of Smokey Robinson’s “Who’s Loving You?” went viral on YouTube. And, recently, he once again made waves with a second video. This one featured a surprise appearance by Stevie Wonder and ended in a special duet. Ahsan is currently recording music for his debut album. To check out this young prodigy, you can log on to Audio-Technica, a leading innovator in transducer technology for over 15 years, has expanded its role as sponsor of the John Lennon Educational Tour Bus, a non-profit state-of-theart mobile recording and multimedia studio. For several years, A-T has served as the Bus’ microphone sponsor, and it now also serve as headphone sponsor, supplying ATH-M40fs Precision Studiophones and ATH-M50 Professional Studio Monitor Headphones to be used by the Bus’s patrons. For more information, visit http://lennonbus. org, and


The Recording Industry Association of America (RIAA) has announced the integration of

THE DOORS DEBUT NEW APP The Doors are looking to “break on through” with a first-of-its-kind iPad app, THE DOORS, available in the App Store. Released by Warner Music Group’s Rhino Entertainment, the app tells the band’s story by diving deep into every aspect of the Doors’ iconic career with interactive content, unpublished band images and artwork, rare videos, music and more. The app was conceived and produced by Elektra Records founder and Warner Music legend Jac Holzman, who signed the Doors to the label in 1966. 24 June 2013

DIY Spotlight:


From their home base in Carefree, AZ, to major festival stages in Europe, electronic pop/dance band Peachcake are on a mission to “save the world from audio-terrorism.” With a reality TV show in the works, DIY frontman Stefan Pruett and his crew are not only a growing international phenomenon, but they’re also “Keeping Up With the Kardashians.” All this is happening, according to Pruett, because they want to promote the band’s mission to “save the world, musical superhero style.” And they’re on a roll… “You Matter,” the infectious single from their new album Unbelievable Souls, has not only hit playlists on many FM and college stations, but has found its way onto some of cable TV’s biggest shows, including MTV’s The Challenge, Showtime’s The Real L Word, and TNT’s Hawthorne, in addition to playing as a

soundtrack behind the everpopular sisters Kourtney, Kim and Khloe. The video for their hypnotic, synth-driven musical manifesto “The World is Our Platform To Mean Something” chronicles their rise in the US and their incredible success in Norway, which includes performing at the 2012 Slotsfjell Festival on a bill with New Order, Janelle Monae, AND Suicidal Tendencies Moreover, their song, “Were We Every Really Right?,” was selected by the International Peace Bureau and Demilitarize. org as the official song for the “Global Day of Action on Military Spending,” a worldwide event supporting demilitarization across the globe. Indeed, it seems as if Peachcake are succeeding—DIY style—in their mission to save the world. See for further information.

Have a successful DIY strategy to share? Email streams to its historic Gold & Platinum (G&P) Program, the industry’s premier award for recognizing artistic achievement in the marketplace. On-demand audio and/or video song streams will now be counted toward the 500,000 (gold), 1,000,000 (platinum) and 2,000,000 plus (multiplatinum) thresholds required for G&P’s Digital Single Award Certification. “Including music streaming in Gold & Platinum awards marks the continued evolution of the industry’s recognition of artistic achievement, and reflects the many ways consumers enjoy music from their favorite acts,” said Cary Sherman, Chairman & CEO, RIAA. On-demand streams on digital music services that are authorized by and report to record labels will be accepted for RIAA certifications. Only official label/company videos count toward certification; user generated videos do not. A new campaign seeks to give music creators credit on digital

tracks. Real music fans want access to all the information about their favorite music online, and the campaign, “Give Fans The Credit,” believes that credits for the songwriters, musicians, producers and engineers should be included as metadata, just as it is for the artist and song. Award-winning songwriter, Lamont Dozier points out: “As a producer and songwriter for many Motown hits, I was privileged to work with the Funk Brothers, Motown’s legendary session band. But fans who listen to those songs on digital players don’t even see their names or mine. So, let’s ‘Give Fans the Credit’. It’s not just for songwriters like me, but for many talented musicians who made your favorite music what it is.” You can learn more and sign a Petition at BERNARD BAUR was voted one of the “Top Music Business Journalists” in the country. Bernard is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.

“Make Money with Your Music No Matter Where You Live” Martin Haene – TAXI Member


y name is Martin Haene, and since I was a kid, I dreamed of earning my living with my music. Sound familiar? I live in Switzerland, so I thought it was nearly impossible. After all, who wants to hear music from a guy with a home studio who lives 5,920 miles away from Hollywood, in a country the size of West Virginia?

What Didn’t Work…

I tried sending out hundreds of unsolicited CDs, but it was expensive and unproductive. Just like you, I needed a “vehicle” for my music.

What Did Work!

I discovered TAXI in 2006 and quickly understood the value of having a well-connected U.S. based company “filter” my music and get it to the right people. I thought the people on the receiving end would be much more likely to listen to well-targeted music from a trusted source, rather than the hundreds of unfiltered songs they get every day.

The number of my Film and TV placements has increased dramatically since joining TAXI: In just 2 ½ years, my music has been used in international TV Shows like Lincoln Heights (ABC Family), Stylista (CW Network), Degrassi (CTV) as well as feature films like Graduation (Independent) and Bring it on – Fight to the Finish (Universal). I’ve also licensed four of my tracks for a Sony/BMG, Latin Music CD that was released internationally.

Your Music as Your Retirement Fund

Having also signed deals with several top publishers through TAXI, I have little doubt those will turn into an ever-increasing number

of Film & TV placements down the road. I’m beginning to see how my music could easily become my retirement fund. How many musicians can make that claim? You can if your music is top notch and you use your TAXI membership well.

More Than Just Great Contacts

TAXI is also the perfect way to learn what the market needs and how to produce it. Every member gets two free tickets to TAXI’s annual convention, the Road Rally. It’s such a great learning and networking experience that it’s more than worth the price of the plane ticket – even from Switzerland! I’ve also made friends, contacts, and met co-writers by becoming part of TAXI’s online community. The possibilities are limitless if you take advantage of them. And the best part is, you can make money with your music no matter where you live. Where do you live and what are you waiting for? Call TAXI!

The World’s Leading Independent A&R Company


BAD RABBITS Date Signed: January 2010 Type of Music: Post R&B Band Members: Fredua Boakye, vocals; Sheel Dave’, drums; Salim Akram, guitar; Graham Masser, bass; Santiago Araujo, guitar. Management: NA Booking: Legal: Michael McKoy, Publicity: Web: A&R: NA


eeling no love from record labels, Boston’s Bad Rabbits looked elsewhere and signed to The Agency Group for live bookings. Divulges guitarist Salim Akram, “We had to take an unorthodox route to get where we are.” Their latest indie release, American Love, came out on May 14th. It was at Northeastern University where three of the band’s members first became friends with Megan Kessler, who later found herself employed at The Agency Group. There she signed Irepress, the outfit of future Rabbits drummer Sheel Davé. Meanwhile, as group’s other members transformed the unwieldy 10-piece monstrosity, the Eclectic Collective,

LINDSEY STIRLING Date Signed: March 15, 2013 Label: Lindseystomp Music, LLC Type of Music: Dubstep/Electronica/Classical Crossover Management: Troy Carter / Atom Factory, Booking: ICM, 310-550-4000 Legal: Serling, Rooks, Ferrara, McKoy & Worob, LLP, 212-245-7300, Publicity: Jim Merlis / Big Hassle Media, Web: A&R: NA


indsey Stirling had to make a key decision at a very young age. She had an equal love for the violin and dance, but her parents couldn’t afford lessons for both. Thankfully she chose violin but eventually decided to pursue dance on her own. As the years progressed she wanted to try and integrate the two. Stirling explains, “I always thought I wanted to do something a little more than just stand there and play my violin. I wanted to engage the audience.” So, while in her teens, Stirling taught herself to dance while playing the instrument. She says, “It was very awkward at first but it was part of an expansion for me.”

“We had to take an unorthodox route to get where we are.”

“It was all about taking what I’d already built and making that bigger.”

into Bad Rabbits, Kessler moved under the stewardship of TAG's Justin Bridgewater. As the backing band for rapper Slick Rick, the Rabbits invited their industry contacts to a show they played at B.B. King’s in New York. Goodie Mob headlined. It wasn’t until they’d thrown back some drinks and gabbed about sports with Bridgewater that they began talking shop. “If you go into business with somebody,” Akram attests, “you want to know who you’re working with.” The next day, the guys sent an email proposing the move forward. No lawyers were involved in crafting their handshake agreement. Akram feels they wouldn’t have gotten where they are today without obsessively honing their live performance chops. “If you put out shitty music or you’re unfriendly, nobody’s going to want to work with you,” he warns. “Focus on your craft and write good songs. Being able to translate those songs live and making your show interesting will help you get on somebody’s radar.” American Love debuted at No. 2 on the iTunes R&B Albums Chart. – Andy Kaufmann

Stirling later posted videos of herself performing on YouTube. Filmmaker Devin “Supertramp” Graham caught one of her early videos and saw something there. They collaborated on a series of projects and posted them on Lindsey Stomp's YouTube page. The results were overwhelming where, to date, she has tallied over 284 million hits and has nearly 1,600,000 subscribers. Based on the strength of her video following, doors began to open. This led to a multi-city US tour to soldout crowds. To expand and grow, Stirling felt it was time to find a management team for career assistance. Her lawyer put the word out and a number of companies heeded the call. But it was at first overwhelming to the artist. “Every time I met with somebody I just felt more and more confused,” says the violinist. “My language is creativity. And when I met with Ty [Stiklorius] and Troy [Carter] from Atom Factory it was cool to hear them understand that. They weren’t about signing me to a record deal right away. It was all about taking what I’d already built and making that bigger.” Lindsey Stirling’s eponymous new full-length disc is out now. – Eric A. Harabadian

26 June 2013


SUPERHUMANOIDS Date Signed: December 2012 Label: Innovative Leisure Type of Music: Pop Band Members: Cameron Parkins, Sarah Chernoff, Max St. John. Management: Alex Black Booking: Ben Buchanan / The Windish Agency Legal: Nicky Stein Publicity: Andrea Bussell / Shore Fire Media Web: A&R: Jamie Strong, Nate Nelson


ince its inception in 2010, the electro-pop trio Superhumanoids have applied a do-it-yourself ethic to their material and means of distribution. Recording two EPs (Urgency and Parasite Paradise) in 2011, the combo went about paying for both releases out-of-pocket with partial funding coming from placements they were able to secure. Urgency was recorded in frontman Cameron Parkins’ bedroom, while Parasite Paradise was recorded in member Max St. John’s studio. And when it came time to release both offerings, the act used Parkins’ own label, which he co-owns with Colin Stutz, named Hit City USA.

“We take pride in our DIY ethic.” “We take pride in our DIY ethic; recording, printing and distributing [the EPs] ourselves,” says band member Sarah Chernoff. The act continued on the same indie track to record its first full-length. This time, however, the three-piece graduated to the studio and used two outside locations to record drums at one, and guitar and bass at the other. Once completed, the group decided the time was right to work with an outside label for the release, as well. “We have always admired Innovative Leisure,” says Chernoff. “They work with artists they believe in and genuinely admire. They represent a part of the Los Angeles music scene that we really respect.” And while Chernoff remains enthusiastic about the band’s DIY beginnings, she also points out, “We could release songs on our SoundCloud for the rest of our lives, but at the end of the day, more people will hear the records that we release through Innovative Leisure than would if we self-released. And that’s our goal, to get the music to as many people as possible.” Superhumanoids’ full-length debut, Exhibitionists, hits retail in June. – Albert Vega

Date Signed: November 1, 2012 Label: Warner Bros. Records Type of Music: Plasma Punk Band Members: Michael Ian Cummings, vocals; Josh Hubbard, guitar; Noah Rubin, drums; Dan Burke, tour bassist. Management: Nick Bobetsky, Red Light Management Booking: Jackie Nalpant / Paradigm; UK & Europe: Matt Bates @ Primary Legal: Gillian R. Bar, Esq. and Elliot J. Groffman, Esq. / Carroll, Guido & Groffman, LLP Publicity: Web: A&R: Adam Herzog & Jeff Sosnow


e should totally start a band.” All musicians are guilty of spewing this intoxicated idiom at some point in their career, but sobriety usually exposes the idea for what it is, drunk conversation. SKATERS are an exception. “Noah [Rubin] and I were longtime friends and decided we were going to start a band [in] New York,” explains frontman Michael Ian Cummings. “Then we met Josh [Hubbard] at a party and we had one of those debaucherous conversations of, ‘let’s start a band.’” After a few months, Hubbard actually moved to N.Y.C. from London. Feeling obligated to move forward due to Hubbard’s sudden arrival on their doorstep, SKATERS were born. Within 24 hours of Hubbard’s arrival, the “plasma punk” boys had booked three shows with only five songs to their name. Constantly encouraging friends to attend, Cummings and company began to build buzz

“We made an EP at my house, which received like 8,000 downloads just from word-of-mouth.” in the New York music scene by only headlining shows and developing a DIY EP. “We made an EP at my house, which received like 8,000 downloads just from word-of-mouth,” Cummings explains. Once buzz hit the major labels, Warner flew the band to Los Angeles. “There were a bunch of super-dedicated music fans [working for Warner] that were really excited about our band,” says Cummings. “That was the selling point. To meet 55 people from a label who were well-versed in our band already––and we hadn’t even signed yet.” The ink didn’t hit paper so quickly, however, as SKATERS wanted to make sure to give back to the community that supported each member over the years. Along with a record deal, the group asked Warner to distribute YONX, the band’s personal magazine that showcases art, fashion, music and the like. Warner agreed. “We wanted to support friends that make tour posters, photo shoots, music videos, assisting with [things like] color correction, etcetera,” continues Cummings. “There’s just so many talented people that we’re surrounded by that can be taken for granted.” – Andy Mesecher June 2013 27

NSAI Song Camp

Love Conquers All at SESAC Pop Awards Rico Love captured top honors at the 17th Annual SESAC Pop Awards, taking home both Songwriter of the Year and Song of the Year. Love is responsible for penning six of the honored songs including Song of the Year “Heart Attack” by Trey Songz, “4 AM” by Melanie Fiona, “Mr. Wrong” by Mary J. Blige feat. Drake, “Touch’N You” by Rick Ross feat. Usher, “Motivation” by Kelly Rowland feat. Lil Wayne and “Without You” by David Guetta feat. Usher. Pictured (l-r): Swizz Beats, Michelle Williams and Rico Love.

Kobalt Inks Jessi Alexander Kobalt Music Publishing’s Nashville office has signed an exclusive, worldwide deal with Grammynominated hitmaker Jessi Alexander who penned “The Climb” for Miley Cyrus. She also wrote Blake Shelton’s No. 1 country single “Drink On It,” as well as his upcoming song “Mine Would Be You.” Pictured (l-r): Jessi Alexander (Seated in Front). Pictured Back Row (l-r): Whitney Daane, Kobalt SVP of Creative; Jeff Skaggs, Kobalt Sr. Director of Creative; and Austen Adams, attorney for Alexander. More details at

You might write country or pop, rock or rap, Christian or folk, or even lyrics, but whatever your genre or aspirations, you are welcome to attend NSAI Song Camp, July 26-28 in Nashville, TN. Each morning will begin with educational lecture segments from faculty members like Rick Beresford, Hugh Prestwood, Jason Blume and more. These sessions are 90 minutes in length and focus on specific aspects of the craft of songwriting. In Pro Song Breakdowns, attendees will meet with at least four dedicated faculty members as they take apart, analyze and dissect one of their own hit songs. In Critique Sessions, over the course of camp, each attendee will have group sessions with one of their songs being analyzed per critique session. For registration information, check out http://nashvillesongwriters. com; call 800-321-6008 or email

Universal Acquires Criterion

Universal Music Publishing Group has acquired Criterion Music Corporation and its affiliated entities. The company will relocate to UMPG’s global headquarters in Santa Monica, CA, where Criterion’s longtime executive Bo Goldsen will continue to serve as President of Criterion. Criterion’s catalog of pop, country, jazz and Hawaiian music includes songs written by Charlie “Bird” Parker (“Ornithology”), Lee Hazlewood (“These Boots are Made for Walkin’”), Lyle Lovett (“If I Had a Boat”), Rodney Crowell

(“Shame on the Moon”), Rosanne Cash (“Seven Year Ache”), Jackson Browne (“Doctor My Eyes”), and many others. It also includes 13 No. 1 country hits and a vast collection of Hawaiian and Polynesian music. See http://umpg. com for further details.

Bryant To Depart BMI

Del Bryant, Broadcast Music, Inc. (BMI) President and Chief Executive Officer, has announced his decision to retire in June 2014, starting an orderly leadership transition over the next 14 months. Bryant’s decision to retire comes after working in continuous service at BMI for nearly 42 years. Bryant, who will be returning to his hometown of Nashville, TN, will continue to work as a consultant for the music rights company. The BMI board of directors has formed a committee to choose his successor. Bryant is the son of legendary Nashville songwriters, the late Boudleaux and Felice Bryant, who penned hits such as “Bye Bye Love,” “All I Have To Do Is Dream,” “Wake Up Little Susie,” “Love Hurts” and the state song of Tennessee “Rocky Top.” Bryant himself wrote a Top 5 country hit in 1978. Get more details at http://  

Coniff Teams with Caren

Tamara Conniff, the former editorial director of Billboard magazine, has been tapped as COO of publishing company Artist Publishing Group (APG). APG, a partnership with Atlantic Records and administered by Warner/Chappell, recently won two ASCAP Pop Awards and has notched more than a dozen Top

BMI’s March on Washington Broadcast Music Inc. CEO and President Del Bryant, Senior VP Richard Conlon and other BMI senior executives went to Washington, D.C., on April 23, 2013, on behalf of songwriters in an impassioned effort to educate Congressional policy staff, legislators and Washington lobbyists on the craft of songwriting. Accompanying BMI executives were 2012 BMI Country Songwriter of the Year, Luke Laird, and multi-Grammy-nominated Claude Kelly. Pictured (l-r): Claude Kelly; Chairman Howard Coble; Congresswoman Dr. Judy Chu; Luke Laird; Congressman Marsha Blackburn; and BMI President and CEO Del Bryant. 28 June 2013

Shawn K. Clement Creates Audistry Music Connection was on the Paramount Pictures lot in Hollywood, CA, to celebrate the release of the CD Audistry from songwriter, producer, performer, engineer and award-winning film composer Shawn K. Clement. Pictured (l-r): Clement and MC’s Dan Kimpel.

– DAN KIMPEL 40 hits, is signing songwriters to artist partnerships. The company will guide a song from creation to recording, production and mastering and subsequently place it or release it via a major like Warner Music Group. Coniff, who since her Billboard exit has been working with Irving Azoff at his Front Line Management before entering the world of tech startups, will be based in the company’s Los Angeles, CA, headquarters. Visit for further information.

“Maybe It Was Memphis” Scores Again

A hit song recorded and released in the early ‘90s by Pam Tillis, “Maybe it Was Memphis,” recently shot to the top of the iTunes charts thanks to a performance on The Voice by Danielle Bradbery. The song enjoyed a similar bump a few years back when contestant Lauren Alaina performed the song on American Idol. The song’s sole writer is onetime Los Angeles-based Song Biz Profile subject Michael Anderson, who teaches songwriting and artist development at Musicians Institute. Find out more about this self-professed “White Trash Shakespeare” at http://

Burt Bacharach: The Best of the Best The Art of the Songwriter: Anyone Who Had a Heart – The Best of Burt Bacharach is a two-CD set that boasts 40 tracks recorded by such legendary artists as Aretha Franklin, Dionne Warwick, Elvis Presley, Neil Diamond, Diana Ross & the Supremes,

Gladys Knight & the Pips, Tom Jones, the Fifth Dimension and Bacharach himself. Meanwhile, Bacharach has penned a new autobiography titled Anyone Who Had a Heart: My Life and Music released this month. In the book, co-written by Robert Greenfield, the songwriter delves into his eventful music career and life, sharing the stories behind his compositions and discussing his turbulent marriages and the tragic suicide of his daughter. In addition to his new memoir and a host of international tour dates, PBS will present a new special in June showcasing some of Bacharach’s vintage television performances. Visit for more on this modern musical maestro.

Glen Phillips at SESAC L.A. SESAC has named Glen Phillips as Associate Director, Writer/Publisher Relations. Phillips will be based in Los Angeles and will be responsible for identifying and recruiting songwriters and publishers for SESAC. He can be reached at 323937-3722.

Nashville Songwriters Festival

Registration is open for the 11th Annual Nashville Songwriters Festival May 31-June 2, 2013. This event, held at the top of Music Row in Nashville, TN, is a grassroots assembly of songwriters and related participants from all over the country where registrants interact, get feedback on their songs, meet with industry pros and enjoy plenty of opportunities to perform. Open to all genres and forms of original songwriting and music, the festival is planned, produced and hosted by songwriters and utilizes volunteers such as emcees, stagehands and sound personnel. Call 615-424-1491 for info and check out DAN KIMPEL's newest book, It All Begins with the Music, is penned with legendary A&R exec Don Grierson. Hear Dan’s audio interviews worldwide on Delta Airlines.

Dr. Luke Checks Pulse with Big Machine Big Machine Label Group (BMLG) President/CEO Scott Borchetta and Prescription Songs’ Lukasz “Dr. Luke” Gottwald have created a music publishing joint venture between Nashville-based Big Machine Music and Los Angeles-based Prescription Songs. The partnership will allow the two companies to co-publish songwriters and artists whose unique talents translate across genres.

Diplo and SONGS

Max Martin Named Top ASCAP Writer Max Martin was named the ASCAP Pop Music Songwriter of the Year for the third consecutive year and sixth time in his career—more than anyone in Pop Awards history at the 30th ASCAP event in Los Angeles. Pictured (l-r): Sue Drew, ASCAP; Martin, Randy Grimmett and Paul Williams, ASCAP.

SONGS Music Publishing Founder and CEO Matt Pincus and President and Head of A&R, Ron Perry helped SONGS writer Diplo celebrate at the annual ASCAP Pop Awards in Los Angeles where he received the prestigious ASCAP Vanguard Award. Pictured (l-r): Ron Perry, President and Head of A&R, SONGS Music Publishing; Diplo; Matt Pincus, Founder and CEO of SONGS Music Publishing.

June 2013 29

Jack Tempchin The Ballad of Mighty Jack By Dan Kimpel



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e avows that he is a notoriously nocturnal creature who has witnessed the passing of thousands of midnights over the decades. And in these tranquil hours his creative spirit arises. “Everyone else’s brains are working so hard during the day that their brainwaves en masse are crowding out my thoughts,” laughs Jack Tempchin. As a hit songwriter best known for his era defining co-writes for the Eagles, “Peaceful Easy Feeling,” and “Already Gone,” Tempchin could probably sleep as late as he wishes. But he is a creative man of action. “Some people don’t need a scene. They can sit in their houses and do it, but I thrive on the night life and the music and meeting people and discovering things,” he professes. This year Tempchin is on the “Peaceful Easy Feeling 40th Anniversary Tour.” His most recent DVD/CD is titled Live at the Tales from The Tavern, and was filmed at the Maverick Saloon in Santa Ynez, CA, by legendary rock photographer Henry Diltz. He has also given his best-known title to a delectable California cabernet, Peaceful Easy Feeling wine available at Whole Foods and select retailers. Intimate house concerts are among Tempchin’s favorite performance venues. “The business model assumes one of the legs of the business will be done for free––it’s a wonderful thing for the people putting on the concerts and their friends. Playing solo is 100 percent communication. I play most of my hits, and a couple of new songs that I’m excited about.” In Los Angeles, he performs at the Hotel Café or The Piano Bar, and he is priming a secret Hollywood locale for invitation-only after-hours confabs. In Nashville, he commands the stage at the fabled Bluebird Café. “It’s been the number one place of a certain kind in Nashville for many years, the venue that tells the customers to be quiet if they’re not listening––they are expected to respect the songwriters.” Tempchin also maximizes his Nashville visits with co-writing sessions. Among his collaborators is Song Biz Profile subject Carey Ott. “We go down into his little basement room to write, and while we do he’s recording it and playing every instrument, and when we’re done it’s a master. That guy is going to be heard from a lot more—he’s a genius and a great music guy,” marvels Tempchin. Co-writing appeals to Tempchin, but while he admires the Nashville system of scheduled collaborations, it is not his preferred creative method. “I asked one guy who’d had some hits, ‘How long have you been in this this little room writing two to three songs a day?’ And he said, ‘Seven years.’ What they have to do is write 40 songs a month, have six demoed, and the rest are gone. I couldn’t do it. When I write a song I want it to live, and I need to baby it.” Such progeny possess enduring legacies. The classic “Slow Dancin’ (Swaying to the Music)” by Johnny Rivers is one among hundreds of songs interpreted by marquee artists from George Jones to Linda Ronstadt. Co-writes with Glenn Frey for the Eagle’s solo projects include “Smuggler’s Blues” and “You Belong to the City,” tracks sampled by Coolio and Jay-Z, respectively. YouTube viewers can enjoy a Tempchin project from a couple of years back, when he challenged his creativity by writing and recording one song a day. “You have to play tricks on yourself,” he says. “If you drift away and aren’t doing it for a while it starts to fade out. I go months or years without doing it, and then get excited about a project.” Across a panoramic historic perspective, Tempchin believes that this is a flourishing creative era. “The times change with the technology, which is causing a lot of economic upheaval that has nothing to do with the music or people’s desire for it. This is one of the greatest times for music, except for the financial reward, but that’s going to turn around. The common person has access to follow whatever they like. It bodes well for the future.”



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Contact Bradshaw Lambert, GBL,


Thomas Newman, son of composer Alfred Newman and cousin of composer and musical legend Randy Newman, has the score to Side Effects. The provocative thriller starring Jude Law and Channing Tatum has just been released on Blu-ray, DVD, Ultraviolet and Digital Download from Universal Home Entertainment. Previously, Newman scored WALL-E and Skyfall. For complete information, contact Erika Somerfeld at The Beauty Channel for Universal, 310-980-0639.


Released to critical acclaim and enthusiastic audience reactions since its UK premiere in September 2012, Last Shop Standing - the Rise, Fall and Rebirth of the Independent Record Shop was recently honored as the Official Film of Record Store Day 2013, using this fortuitous timing to release the film on DVD. Inspired by the book of the same name by Graham Jones, the film charts the rapid rise of record shops in the 1960s, ‘70s and ‘80s, the influence of the chart, the underhand deals, the demise of vinyl and rise of the CD as well as new technologies. Interviews include Paul Weller, Johnny Marr, Norman Cook, Billy Bragg and others. Screening constantly somewhere in the UK over the last four months, the film has also been in demand in Europe, South America, Southeast Asia and Australia, testimony to its universal appeal. For further information about premiere screenings in the US, contact Pip Piper at pop@ Joey and Lee’s Cabaret Awesome at Upstairs at Vitello’s in Studio City, CA, will present

entertainer Neile Adams in her new 60-minute cabaret show, One Hell of a Ride, directed by Ted Sprague, with Andy Howe serving as Musical Director and pianist for one night only on Tuesday, June 11th. Adams first saw her name on Broadway as a teenager at Billy Rose’s Ziegfeld Theatre in the original production of Kismet, with Alfred Drake and Doretta Morrow. Reservations may be made by calling 818-769-0905, or buy tickets online at cabaret-awesome-presents-neile-adams-in-onehell-of-a-ride. For more about Adams, please visit or contact Steve Moyer Public Relations at 818784-7027 or moyerpr@ Composer Christopher Lennertz (Revolution, Horrible Bosses) provides the score to Identity Thief, the comedy film starring Jason Bateman and Melissa McCarthy which comes to Blu-ray and DVD on June 4 from Universal Home Entertainment. Blu-ray bonus features include a Gag Reel, an unrated version and the making-of documentary. For complete information, contact Erika Somerfeld at The Beauty Channel for USHE, 310-980-0639 or visit BET’s Sunday Best Executive Producer and host, gospel great Kirk Franklin, a seventime Grammy winner, brings a soul-stirring lineup to his “Sunday Best” with Kirk Franklin and Friends LIVE show. The concert and worship experience will feature gospel great Donnie McClurkin as well as performances by legendary gospel singers Karen ClarkSheard and Kiera Sheard of BET’s The Sheards. Additionally, Le’Andria Johnson, Amber Bullock and Joshua Rogers, all past

32 June 2013

season winners of the BET TV competition, are also slated to perform. Tickets are on sale now at or   


BuzzRadio is looking to add new shows to its station. Artists and potential hosts who are interested in doing a radio show on topics including local music (interviews, live in-studio performances) should contact programming@ The Sam Wright Show is a new Internet radio show hosted by the young and talented comedian Sam Wright who is setting his sights on becoming the UK’s answer to Howard Stern. Producers are seeking “crazy, interesting, expert guests” and are open to musical acts of all kinds. Contact the host directly at thesamwrightshow@ or visit http:// Stix N’ Skinz, a new show for BlogTalkRadio, is looking for drummers and percussionists from all styles, genres and backgrounds to speak to listeners about what it takes to become a successful musician and business person. Producers welcome all professional conversations, tricks, tips and guests ranging from players and instrument makers, to agents and social media gurus. Tim “Heavy T” Stafford hosts. Email him directly at The Big Show, the morning program on Today’s Best Country, KICK 104.1 out of Rapid City, SD, is seeking musicians, comedians, authors, actors and anyone with a message. Contact

– TOM KIDD The Sunny and Pinky Show, an online radio program, is seeking musicians to perform as guests. Listen in at http:// mgoeradio. com or contact Sunny and Pinky directly at An international radio show for the Asian market called CarryOnHarry is looking to showcase emerging and established talent. The show

MusicBox, a division of Ole Music Publishing, has concluded a multi-year, worldwide sub-publishing deal with US-based TV Film Trax, LLC to represent its entire music production library. The deal brings representation of over 2,300 tracks of highquality music covering musical styles such as vocals, hard rock, metal, pop rock and electronic/rock hybrid music. The library also features guitar legends Billy Sheehan, Steve Morse, Leslie West, Frank Gambale, Gary Hoey, Hal Lindes and Chris Poland. TV Film Trax was founded and built by multi-Emmy-winning composer and world class guitar player, Brian Tarquin, an active composer for over 20 years who has produced/ composed music for a variety of network and cable programs, feature films, and advertising campaigns. Tarquin is also the producer of the Guitar Masters Series. Contact Aaron K. Davis at MusicBox, 310-402-0308 or aaron_davis@   Jill Andrews, who is signed to Nashville’s Big Yellow Dog Music, released her new single, “Rust or Gold,” in tandem with the song’s feature on ABC’s series Grey’s Anatomy. The tune rocketed to the Top 10 of the iTunes Singer/ Songwriter chart within two days of its release.

JILL ANDREWS is produced in English and Indian languages. It is a telephone show with segments about 10-15 minutes highlighting new releases and sharing viewpoints on various aspects of life and art. Visit or email


The hit theater piece For The Record recently left its resident home in the Los Feliz neighborhood of Los Angeles, CA, to head to West Hollywood to perform Tarantino In Concert at famed House of Blues Sunset Strip. This version of the World Theatrical Presentation, performed only once before at the 2012 SXSW festival, brings the movies of Quentin Tarantino to life through the



Veteran talk host, author and creativity coach Amy Beth Arkawy is looking for compelling storytellers: authors (fiction and non-fiction), filmmakers, musicians, actors, directors, journalists for her show on BlogTalkRadio. Email Arkawy directly at Every Tuesday night cabaret singers are invited to Showcase Open Mike Cabaret in Midtown N.Y.C. Producers of this open mic are using the showcase to find singers for a Saturday night spot at one of New York City’s top cabarets. For more information, visit

Out Take

soundtracks he meticulously integrated into each of his films including his latest, Django Unchained. Tarantino In Concert was originally staged a little over two years ago in Los Angeles at Rockwell: Table & Stage as the first show in the For The Record series which celebrates songs and moments from the body of work by a featured director. As a series, For The Record has been featured on CBS, FOX, ABC, CW, and NBC. Visit or contact Edward Allen,

After leaving the breakout alt-country band, the everybodyfields in 2009, Andrews released a self titled EP and a full-length album (The Mirror, 2011). Recently, she has had three placements in Hart of Dixie, and is recording her new record. For further information, contact John Paul, TOM KIDD's 20-year career includes extensive experience as an artist, producer and performer. Tom has promoted, marketed and developed Emmy- and Oscar-winning composers. He is President of Pres Pak Public Relations.

John Nau & Andrew Feltenstein Composers

Email:, Web: Breakthrough: Casa de mi Padre Latest: Better Living Through Chemistry, Anchorman: The Legend Continues IN A SPACE THAT was once Joni Mitchell’s home studio is the home of Beacon Street Studios. Beacon Street is the home base of John Nau and Andrew Feltenstein. The duo first gained the public’s attention in 2012 with score and songs for Will Ferrell’s Spanish soap opera spoof Casa de mi Padre. From there their resume quickly grew. Theirs is the sound behind Bachelorette, plus the upcoming Better Living Through Chemistry and Anchorman: The Legend Continues for which they provide both score and songs. They may be bringing the bacon home for Beacon Street now, but the composing team first got together somewhere else. It was at another studio where they began scoring commercials which led to movies for HBO. They began building relationships. “Directors we met went on to films and they took us with them,” explains Feltenstein. “Knowing you can deliver is important,” adds his partner Nau. “Matt Piedmont’s (Emmy-winning writer, producer and director) jived with our music and the way we do business. Adam McKay (Anchorman director) liked us, and so far so good.” It is not the quantity of work that keeps Nau and Feltenstein going, it is the quality. “People make movies all on MIDI or a keyboard,” says Feltenstein. “I don’t think that’s in their benefit to get to the next rung.” “Go for broke,” adds Nau. “If we’re doing an indie film with very little money, we spend all the money to make the music as good as possible.” The creative process is all for Nau and Feltenstein. Musicians first and foremost, their mantra is to always create music that really comes to life.

June 2013 33

GARY CLARK RETURNS TO CROSSROADS Rising guitar phenom and recent MC cover dude Gary Clark Jr. commanded the 2013 Crossroads Guitar Festival stage. Clark joined festival founder Eric Clapton, Keith Urban, Keb Mo, Dan Aykroyd, John Mayer, B.B. King and many more. The event is a fundraiser for Clapton’s Crossroads Centre, created to provide quality, affordable treatment for alcohol and drug dependencies. Get the full scoop at



Swizz Beatz & Sotheby’s hosted a private viewing of MAN MADE: Jean-Michel Basquiat at Sotheby’s where a select group of people, including Alicia Keys and producer Fab 5 Freddy, were in attendance. MAN MADE: Jean-Michel Basquiat is the Sotheby’s curated exhibition featuring over 30 years of the much celebrated Jean-Michel Basquiat’s major works. Pictured at the event (l-r): Swizz Beatz alongside Keys.

THE WINNER OF 2013 NEXT GREAT DRUMMER Ryan Woodruff, freelance drummer from Sioux Falls, SD, took top honors at the 2013 International Online Drummer Search. Next Great Drummer, along with ES & URE, provide online and live music competitions. Contestants are able to showcase their music/artistic skills to be judged online or live by a panel. Visit for details.

BACHARACH RELEASES NEW MEMOIR National Record Promotions’ Larry Weir recently met up with his favorite music legend, Burt Bacharach. Yahoo’s OMG taped an interview with Burt over at Studio City Sound in conjunction with the release of his new book, Anyone Who Had A Heart.

34 June 2013


MUSIC ROYALTIES IN GOOD HANDS AT ASCAP EXPO The folks making sure musicians get paid for their film/TV and web music licenses were caught having fun in the sun at the recent ASCAP I Create Music Expo, in Hollywood, CA. Pictured (l-r): Lauren Danzy, Sound Exchange Head of Marketing; Shari Hoffman, AFM & SAG-AFTRA Manager for Audio Visual & Symphonic Recordings IPRD Fund; and Gini Phipps, Sound Exchange Assistant Marketing Manager.



36 Years 1977–2013


NY FOUNDATION FOR ARTS INDUCTEES The New York Foundation for the Arts (NYFA) has inducted author and co-director of the Acquavella Gallery Michael Findlay, composer Elliot Goldenthal (Alien 3, Batman Forever), filmmaker Mira Nair and visual artist Fred Wilson into the NYFA Hall of Fame. The NYFA Hall of Fame was created to both honor the work of artists to whom NYFA provided support in their careers and recognize philanthropists/patrons of the arts who have impacted the City’s cultural community. Pictured (l-r): Julie Taymor, Elliot Goldenthal and Jessye Norman.

Tidbits From Our Tattered Past

POTTER PUMPS UP TORTUGA The Tortuga Music Festival recently came to a close in Ft. Lauderdale Beach, FL. Artists that graced the stage throughout the festival included Grace Potter (pictured), Kenny Chesney, Avett Bros, Ben Harper with Charlie Musselwhite, Jake Owen, Eric Church and more. Visit http://tor


1986—The Cult––#3

SLASH, SORUM SHRED FOR CHARITY ShredFest 5 rocked The House of Blues in L.A. to raise funds for pediatric cancer research. The benefit, put on by the Thousand Oaks-based non-profit Shred Kids Cancer, featured a battle of the bands, celebrity judges, silent auction and performances by Slash and drummer Matt Sorum, with several of the young band members to close the afternoon event. (l-r): Slash, Shred Kids Cancer Founder Teagan Stedman and Matt Sorum after the show.

In our cover story, Ian Astbury, frontman for the Cult, recalled what it was like when he joined his very first band. "Since I was the singer, I had to write the words," he said, "but I didn't even know what I was supposed to do. I stood in the corner at the back of the room with a microphone." The issue also explores how rising American bands (Long Ryders, Dokken) were having more success in Europe than at home. Live reviews of bass virtuoso Jeff Berlin and a profile of MC's Players Poll winners, Leatherwolf, round out the issue.

THE THREE O’CLOCK “Paisley Underground” altrockers, the Three O’Clock, played three shows in the L.A. area recently, including Coachella and the Troubadour. Their Glass House performance, in Pomona, shown here, was their very first gig in 25 years. With a Buzzcocks-meets-Byrds sound, it’s easy to see why the band were so influential to the indie scene. A retrospective CD is coming June 25th.


1998—Tony Rich Project—#19

HOLLYWOOD BENEFIT HELPS PUBLIC SCHOOL MUSIC PROGRAMS SOAR The Hollywood Arts Council presented their 27th Annual Charlie Awards Luncheon in the Blossom Room of the Hollywood Roosevelt Hotel at a Sold Out event. Monies raised at this year’s Charlie Awards and on the online auction will help benefit the Council’s Project S.O.A.R. (Students Overcoming All Risks) serving thousands of elementary school children who do not have access to art or artistic direction in six Title 1 Hollywood schools. Pictured (l-r): Congressman Adam B. Schiff, Nyla Arslanian, Melissa Manchester, Maureen B. Schultz and Richard Wyatt, Jr. June 2013

Having won a Best R&B Album Grammy for his 1996 platinum debut Words, the multi-faceted Tony Rich was promoting his followup, Birdseye, when MC caught up with him for a cover story. "The pressure comes when you write according to your early success," he said, "trying to write songs that duplicate the first batch. I believe true artists do music for themselves first, and if the listener gets it, that's icing." The issue also features a chat with label head Miles Copeland and a club review of keyboardist Brian Auger. 35


PHOENIX FRENCH INDIE-ROCK OUTFIT PHOENIX has been kicking it since around 1997. The band’s fifth album Bankrupt! was released on April 23, the second record on independent label Glassnote Records (previously,

Phoenix made its home at EMI). It was preceded by the single “Entertainment.” The band’s 2009 Wolfgang Amadeus Phoenix charted well and won a Grammy for Best Alternative Music Album in 2010. The band’s singles have been featured in movies and TV. When Music Connection spoke with band guitarist Branco (Laurent Brancowitz), Phoenix was amping up to play its first of two headlining spots over two consecutive weekends at The Coachella Valley Music and Arts Festival (“Coachella”) in the Southern California desert. Phoenix appeared on Saturday Night Live in early April and is now knee-deep in a tour that lasts at least through early October and will take the band across the world. In our exclusive Music Connection Q&A, Phoenix’s Laurent “Branco” Brancowitz talks business, creativity and paths to success, including the band’s alliance with independent label Glassnote Records, whose roster also includes Mumford & Sons and Childish Gambino.

38 June 2013

Music Connection: Bankrupt! is partially self-produced, partially produced by Philippe Zdar. You’ve worked with him for most of your albums. Were other producers considered? Branco: No. We shouldn’t work with any other producer. It wouldn’t work because of the way we are. [Working with Zdar] doesn’t leave a lot of room for problems. In the case of Philippe, our success is some kind of miracle and it’s working. There’s evidence that [the pairing] was meant to be. For Bankrupt!, there was almost no decision; the choice was obvious. MC: Has your approach to songwriting changed since United, your first album? If so, how? Branco: When we were younger, in a different way, we were not interested in the clockwork mechanism of the songwriting process. Growing up we discovered what’s important is the indescribable charm of things that are not explainable. So I suppose that now we’re more sensitive and more attracted to the charm of ideas and things rather than the perfection of the clockwork mechanism. MC: Where did the ideas or inspiration for Bankrupt! come from?

“We own our masters and our publishing. We own everything. From the very beginning, it was a means of control.” – Blanco

Branco: We didn’t listen to a lot of music during the process, because we tried not to close the door to outside inspiration. But we listened to a lot of French and Italian opera. And we listened to a lot of David Bowie; he was perhaps the only influence on this album. We were also very attracted to pure sound that had some profound resonance, so there are a lot of sounds that refer to French music on this record. MC: What are the main differences between Bankrupt! and Phoenix’s previous records, such as Wolfgang Amadeus Phoenix or even United? In what way has the band’s sound changed or evolved? Branco: It has evolved at least because it’s been four years since our last record. Also, we want to evolve, so there’s an intention towards something new that’s very powerful in our band. We


Rise Continues Its BY ROB PUTNAM

wanted more than ever to discover new and interesting sounds. I think that’s what keeps us going––the fact that we have this goal. We’re always working, always trying to improve. So every album for sure is very different from the previous ones. More than ever we wanted to discover a new and interesting sound. Also, in terms of songwriting, we wanted to rediscover the secrets of the grand masters. That’s why I thought about David Bowie. He knows the master secrets of songwriting. We wanted to follow that tradition.

MC: Approximately four years passed between the release of Wolfgang Amadeus Phoenix and Bankrupt! Why so long? Branco: There were two years of touring and then two years of songwriting and recording. For us, it’s scary to say that but it’s the usual time we need for an album. I know it’s too much but there’s nothing we can do about it. MC: What do you think is one of the keys to being a successful band? Branco: I have no idea, of course. Our goal is not to be a successful band. Our goal is to be a good band.

And that’s very hard, actually. It’s much harder than being successful. I don’t know if that’s a good thing but that’s our goal. We have this naïve approach and we think that if [the music] is good, it will be successful. We know that’s not always the case but we have this idea of doing something great and hopefully people will like it.

MC: What advice do you offer to bands that are just getting their start? Branco: They should do the opposite of what a lot of people or bands do. The worst habit is trying to recreate whatever people are doing right now because that’ll be different by tomorrow. Do something different; something new that has yet to be done. The goal is to create the desires of the future and not to recreate the desires of the past. MC:What was one of the biggest challenges you encountered while writing and recording Bankrupt!? Branco: The challenge was not to do a record like our previous one. And then there were some

technical challenges because the sound was very full at some moments and to me it was something that was very cool. To make this balance was difficult because it was like a combination of completely different styles—like doing jazz with heavy metal. That was a challenge but it’s also what we liked about this record. It’s hard to create something new. But if it weren’t hard, it would be very boring. MC: How was “Entertainment” chosen as the first single? Branco: We love every song on the record and when we write an album we really think of it as a whole. We never think about singles. We as a band have a brief conversation and try to choose a song that sums up the vibe of the record. Actually, for me, there are eight songs that we could have picked. But it’s like trying to choose your favorite child. This wasn’t an easy decision. We liked this one because it conveyed some kind of picture or image of the album. We wanted to show the fans that we needed to evolve. We didn’t want to reconjure the same songs again. MC: Were other songs considered or was it pretty clear that “Entertainment” was going to be the single? Branco: As I’ve said, there were a number of songs that we could have gone with; it could have been a lot of other ones. Perhaps the decision was arbitrary but it was our instinct. Usually when we follow our instincts, it leads us to very real places. We think it’s the best decision. To do something right, you should follow your primary instinct. MC: I understand that you’re a fan of Fender and Gibson guitars. What are some of your favorite models and why? Branco: My main guitar is the Fender Bullet. It’s a very cheap guitar—I bought it for about two hundred dollars. I think it sounds better than an expensive, custom shop model. The pickguard is made of metal and it creates a unique resonance in the wood, which is also kind of cheap; it’s not cherry wood. This combination is unique; it kind of resonates in your bones and this is very hard to find in a guitar. In a very good guitar shop,

June June 2013 2013 39 39

Quick Facts


40 June 2013


they may have one guitar that resonates with your body. I really love this one. Some of my favorite guitar players are Sterling Morrison from Velvet Underground and of course I love Bob Dylan. Heâ&#x20AC;&#x2122;s a very underrated player; very skilled but he hides it. If you listen to his early stuff, itâ&#x20AC;&#x2122;s very well played. The more I grew up, the more I realized that he was an authentic player. And I like his attitude. MC: After your contract with EMI ended just before Wolfgang Amadeus Phoenix, you chose to sign with Glassnote Records. How did the band arrive at that decision? Branco: When we finished Wolfgang Amadeus Phoenix, we were looking for a partner. [Label head and founder] Daniel Glass heard the new record and his reaction was great. The day after he listened to it, he flew to Europe. When we met him, we knew that he understood what we were trying to do. And Glassnote was also an independent label, which we really liked, so the decision was quite easy. Weâ&#x20AC;&#x2122;d talked with other labels, but no one had the same level of enthusiasm or passion that he did. And I liked his old-school way of thinking. He was our partner. When we made a decision, we just talked with him eye-to-eye. What I donâ&#x20AC;&#x2122;t like about the modern world and big companies is that thereâ&#x20AC;&#x2122;s a lot of tiering and no one is really in charge. There are dozens of people and they donâ&#x20AC;&#x2122;t know what theyâ&#x20AC;&#x2122;re doing. I think thatâ&#x20AC;&#x2122;s why the music world is not as good as it used to be. The decisions are diluted and thereâ&#x20AC;&#x2122;s not one captain who can make a quick choice. Thatâ&#x20AC;&#x2122;s why [Apple co-founder] Steve

Jobs had a great company: because he was a leader; he was a captain. MC: Do you own your masters or does Glassnote? Branco: We own our masters and our publishing. We own everything. From the very beginning, it was a means of control. What we like is freedom in doing this job and thatâ&#x20AC;&#x2122;s how it should be. Daniel Glass was happy to do it. We needed a partnership with the label and we got it. There was no hesitation. MC: Is the label involved in the bandâ&#x20AC;&#x2122;s creative process? Branco: For the music, thereâ&#x20AC;&#x2122;s no involvement; the ideas are from the four of us. One of the great things about Glassnote is that itâ&#x20AC;&#x2122;s led by intelligent people who are convinced that we know what weâ&#x20AC;&#x2122;re doing, so they give us plenty of freedom. Thereâ&#x20AC;&#x2122;s no decision that we donâ&#x20AC;&#x2122;t take. But weâ&#x20AC;&#x2122;re also very open to ideas once the music is finished; weâ&#x20AC;&#x2122;re open to the labelâ&#x20AC;&#x2122;s input. After almost two years [while recording Bankrupt!], we showed them what weâ&#x20AC;&#x2122;d done and hopefully they liked it. The relationship between the band and the label is very strong now.

monalities between people around the world. But even in the United States, there seem to be regional differences. For example, Southern California is different from Chicago. The main thing is that all audiences react to the same things at about the same moments during a concert. People share emotion, and thatâ&#x20AC;&#x2122;s real. MC: Do you like being on the road? Branco: We love it. It took quite a long time to find the right crew, the right people and the right way of touring. It demands a lot of energy to make it interesting and not just a repetition of the same day over and over again. But now weâ&#x20AC;&#x2122;re kind of good at it, we know how to handle it and so touring for us is great, especially after weâ&#x20AC;&#x2122;ve spent two years in the studio. Weâ&#x20AC;&#x2122;re happy to travel the world.

MC: Is being in a successful band different from what you thought it would be? Branco: For us, being a little bit successful is not that different from being very successful. Our lives havenâ&#x20AC;&#x2122;t changed that much, except we have the opportunity to play a lot more. I thought there would be so much pressure, but actually itâ&#x20AC;&#x2122;s not that complicated. We just have decisions that need to be made, but itâ&#x20AC;&#x2122;s pretty easy to do what we have to do. The only thing that we like about success is the creative power we have. [Or] at least we have it now. It might not last forever. But now we know that we can experiment and do things the way that we want to do them. We also have access to all these creative tools. Contact

MC: How much tour support does Glassnote offer? Branco: We own our touring company so we are pretty self-sufficient. I donâ&#x20AC;&#x2122;t know if Glassnote is involved in tour support. They could be, but even when we started the promotion of Wolfgang Amadeus Phoenix in 2009, we were already touring the US on a level that was self-sufficient. We produce and support our own tours. MC: V2 Records will release Bankrupt! outside of the United States. Whatâ&#x20AC;&#x2122;s the relationship between Glassnote and V2? Branco: Thereâ&#x20AC;&#x2122;s some confusion about that and I donâ&#x20AC;&#x2122;t know where it comes from. V2 was involved with the European release of Wolfgang Amadeus Phoenix. Now Glassnote has a partnership with LoyautĂŠ, the band-owned worldwide label that handles European releases. MC: Whatâ&#x20AC;&#x2122;s it like to headline Coachella two weekends in a row? Is there any special preparation that you go through? Whatâ&#x20AC;&#x2122;s it like doing two large back-to-back shows? Branco: For us, Coachella is very important. Itâ&#x20AC;&#x2122;s almost a mystical moment. We could compare it to the Olympics. The first time we played Coachella, we did the worst tour of our lives. That was a long time ago. The last time we played it, it was one of our favorites. In terms of our preparation, we thought about it for a long time. Itâ&#x20AC;&#x2122;s now a two-week thing and we donâ&#x20AC;&#x2122;t really know how to deal with it. Itâ&#x20AC;&#x2122;s exciting to see how different it can be. This is the first time weâ&#x20AC;&#x2122;ve done [back-to-back weekend shows] so we donâ&#x20AC;&#x2122;t know exactly what to expect. Itâ&#x20AC;&#x2122;s kind of terrifying, but when youâ&#x20AC;&#x2122;re frightened to death youâ&#x20AC;&#x2122;re also excited. Those moments are the bestâ&#x20AC;&#x201C;â&#x20AC;&#x201C;when you know that you can fall and there are no safety nets. Thatâ&#x20AC;&#x2122;s what weâ&#x20AC;&#x2122;re feeling right now. MC: Are American audiences or fans different from European ones? Branco: No, not really. There are a lot of com-

The GRAMMY MuseumÂŽ Exhibit Opens June 12, 2013 800 W. Olympic Blvd., Los Angeles, CA 90015 Monday-Friday 11:30am - 7:30pm, Saturday- Sunday 10:00am - 7:30pm

For more information, go to GRAMMYMUSEUM.ORG GRAMMY Museum and the Museum logo are registered trademarks of The Recording Academy and are used under license.

CLIENT: Grammy Museum





June 2013 41 DATE:  

I   #   %!% I



42 June 2013


While the buzz word is still relatively new, crowdfunding is in many ways synonymous with the patronage of the arts, a centuries-only practice that predates the earliest forms of capitalism. If it weren’t for patronage the basic business activity––in which a person financially supports an artist––legends like Homer and Mozart may not have risen to fame. The contemporary phenomenon has its very own Oxford Dictionary definition: “The practice of funding a project or venture by raising many small amounts of money from a large number of people, typically via the Internet.” (Crowdfunding is not to be confused with crowdsourcing, the practice of gathering information or feedback through a paid or unpaid group of people, usually online.) The first musicians to embrace crowdfunding appear to be Marillion. In the mid-1990s, the UK progressive rock band acted as a midwife of sorts, birthing the practice of crowdfunding by virtue of its devoted legions of fans. Marillion was without a record deal and reluctant to tour the US on its own, as the band had

lost money with every one of its Stateside treks. However, an avid group of followers––connected through an online mailing list of about 1,000 fans–– would not let the idea die. After keyboardist Mark Kelly told a rabid fan that it would cost roughly $50,000-$60,000 to fund a North American tour, the devotee raised about one-third of that amount in a few weeks, set up a bank account and put the money into escrow. “I said, ‘I have to speak with the band about this,’” Kelly recalls. Within six months, Marillion was touring the US with the support of $60,000 raised by fans. Thanks to media attention surrounding the crowdfunding endeavor, the band actually made a small profit with the campaign, and used it to send CDs of live recordings to anyone who had donated. Following the surprise success of the crowdfunding effort, Marillion––desperate to break free from the shackles entailed by a record contract––decided to replicate the concept with its album-making efforts. In 2001, the band asked its burgeoning mailing list if fans would be willing to pay up front for a bonus track-laden special edition of the next Marillion album. About 200 of the 6,000 said no, but the rest were onboard. “That was enough for us to say, ‘Okay, we’ll do this,’” says Kelly. Marillion eventually accepted 13,000 preorders for what became 2001’s Anoraknophobia, which more than covered the costs of recording the album. After completing it, the band approached its former label EMI and reached a deal through which the band declined an advance payment in exchange for the label putting the album in stores. Marillion has effectively used that model ever

since, releasing five more crowdfunded albums. “At the time, we didn’t realize we were starting a whole Internet movement,” Kelly says. “It was born out of necessity ... it’s one of those things whose time had come.”


While Marillion appears to be the first band to raise money for a music project through an online fan campaign, the founders of Kickstarter––which touts itself as the world’s largest funding platform for creative projects––say they came up with the concept independently of the UK prog band. “I’m not sure if anyone can claim the idea,” Kickstarter cofounder Yancey Strickler contends. “Everything about Kickstarter was our creation and came from us.” Strickler says co-founder Perry Chen, an artist, devised the concept on his own in 2001 or 2002 when he wanted to stage a concert in New Orleans but didn’t have the money to do so. Chen wondered if people would agree to pay for their tickets via credit card only if the concert actually came to fruition, according to Strickler. In 2005, Chen shared the idea with Strickler, a journalist, and Charles Adler, a designer.

not ill-funded, according to the website. Kickstarter collects a five percent fee from the funding total for a project, if it is successfully funded. Additional payment processing fees run between three to five percent. To date, Kickstarter has hosted 11,000 successfully funded projects, according to Strickler. He says that only 20 percent of the website’s 40,000 total number of creative projects have been related to music, as Kickstarter also hosts projects related to games, theater, comics, fashion and food (charity projects, however, are not allowed). Strickler notes, however, that music projects have had some of the strongest success rates on the site, with 54 percent of music projects reaching their funding goals. He attributes the site’s success to its aesthetically appealing website, easy-to-use functionality and track record of success, chiefly represented by singer-songwriter Amanda Palmer raising a record-breaking $1,200,000 in May 2012. (See MC’s July 2012 cover story.) “Since we’ve launched,” Strickler says, “there are hundreds of sites that have copied what we’ve done.”


Two years before the launch of Kickstarter, the founders of crowdfunding platform Indiegogo germinated a similar concept. In 2008, they launched their San Francisco website for the independent film industry, broadening it the following year to encompass music and other media. The company claims to be less restrictive than Kickstarter because Indiegogo doesn’t have a review process requiring that a project fit into a clearly defined category––music or photography, for example––and meet other standards. “Our philosophy is that there shouldn’t be a gatekeeper and that funding should be open to anyone,” says Indiegogo’s Head of Music, Karen Bair. “Who are we to say that anyone’s idea is a bad idea?” Perhaps the greatest distinction between Indiegogo and Kickstarter is that while the latter platform strictly offers allor-nothing funding for projects, the former website has a “flexible funding” option allowing campaigners to keep the money they raise, even if they don’t reach their total funding goal. “A common misperception about crowdfunding is that it’s an ‘all or nothing’ attempt, but it is quite the contrary,” Bair says. “Many campaigners just need to raise funds to get them to the next level, which is why even if a campaign doesn’t ultimately reach its target, it can still be a success.” Indiegogo––which, unlike Kickstarter, doesn’t release data related to success rates or other metrics––charges a four percent fee on money


Four years later, they launched Kickstarter, through which an artist establishes a project and its financial goal, determines the length of the fundraising campaign and formulates a series of reward––such as a limited-edition album or a hoodie––to coax potential contributors. Notably, Kickstarter doesn’t feature the word “crowdfunding”––which Strickler calls only “a mechanism”––anywhere on its site. Instead, the site encourages users to “pledge to” or “back” a “project.” “No one is funding a project because they want to fund something,” he says. “It’s because they want to be part of a project.” Similar to Chen’s original concept for the New Orleans concert, a Kickstarter project must reach its funding goal within a designated timeframe, or supporters won’t be charged for the money they commit. The strategy is a way of protecting the project supporters as well as ensuring that the project is

June 2013 43


The crowdfunding trend has more than a few players. Here are some you may have missed:

PITCH: The Australia-based crowdfunding platform, which is accessible to US artists, requires projects to have a specific funding goal and a time limit between one and 60 days. FEES: 9 percent (plus bank and transaction costs)

PITCH: The jazz-centric, New York-based website claims to have launched the first fan-funding platform for artists in October 2003. Its projects have earned six Grammy awards and 18 nominations. FEES: 15 percent (includes bank and transaction costs)

PITCH: The New York-based website helps artists raise money for recording, video production, touring and marketing. It touts itself as the only US crowdfunding site founded by, operated by and devoted only to musicians.

raised by projects that meet their fundraising goal and a nine percent fee on projects that don’t. Additional third party payment processing fees run about three percent, and international wire fees also apply. Also, while Kickstarter (since it uses Amazon payment methods) is only available to project creators who are based in the US or the UK, Indiegogo––which uses Paypal instead––says it has campaigners living in 193 countries. Bair notes that Indiegogo’s biggest success story, a $341,000 campaign by mathcore act Protest the Hero, could not have happened on Kickstarter, because the band members are Canadian.


After releasing their first three albums through Underground Operations and fulfilling obligations to the Toronto punk rock label, Protest the Hero decided to join the crowdfunding bandwagon for their fourth. Guitarist Tim Millar says the band became attracted to the concept after eyeing the success of other independent artists, like Palmer, ska group Five Iron Frenzy ($207,000) and indie-rock ensemble Murder by Death ($187,000)––who, along with industrial-rock band Mindless Self Indulgence ($225,000), have had the most heavily funded Kickstarter music projects thus far. “We wanted to have control and not have to answer to anyone,” Millar says. “We don’t really want to be in the business of selling and distributing records.” Protest the Hero also noticed another fringe benefit that comes with a crowdfunding campaign: It can provide a band with key metrics about its fanbase, such as breadth, geographic distribution, level of devotion, etc., which can then be used to hone plans for marketing, tour-

large amount of income for us,” says Millar. He added that the band will use the extra $216,000 it received above the goal expectation to produce a making-of-the-album DVD, touring costs and, potentially, expenses for Protest the Hero’s fifth album. Millar attributes the success of the campaign to three factors: organization, organization, organization. Prior to its launch in mid-January, he and his four bandmates spent three weeks creating spreadsheets that details the projected album expenses and funds needed for their campaign goal. Also in advance, the bandmembers created a treatment for a video introducing the campaign; drafted a letter explaining the crowdfunding effort to fans; and established the Indiegogo “perks” that supporters would receive, such as the opportunity to perform guest vocals or other instrumentation on the record (for a $5,000 contribution); to take part in a pizza party/ sleepover at Millar’s house in Toronto ($1,250); and receive a handwritten set of lyrics ($250). Protest the Hero still have some more work to do––recording the album, for example. They also have to find a company that can ship the album and figure out a way for the campaign contributors to all receive it at the same time. Millar said the band wants to make sure that the album is available to fans and others who didn’t want to contribute to the Indiegogo campaign––or couldn’t, after it ended. The Canadian band’s last two albums both cracked the top 100 on the Billboard 200 albums chart. “That was the one thing I was worried about: We send out the new album to our Indiegogo supporters, but then it isn’t released [broadly],” he says. Whether Protest the Hero revisits crowdfunding is also uncertain, according to Millar. “I don’t know how many people can do it twice,”

“I don’t know how many people can [crowdfund] twice. It’s good to know that it’s an option, but we’re not going to take money if we don’t need it.” – Tim Millar, Protest The Hero

FEES: 10 percent (plus PayPal fees)

PITCH: The Seattle-based, invite-only subscription service solicits contributions by asking users to “become a fan” through four different price options. The site launched in November 2011 and is still in beta. FEES: 15 percent (plus payment processing costs)

PITCH: The Chicago-based crowdfunding/ fansourcing platform, in addition to facilitating financing, handles album production and distribution for artists. FEES: 40 percent (plus additional expenses)

44 June 2013

ing and beyond. “In a worst-case scenario, we thought we’d have a better idea of what our support was really like,” Millar says. “You never know why people are at your shows, and record sales aren’t a valid number anymore.” Protest the Hero collected that critical information during their 30-day campaign to raise $125,000, which turned out to be anything but a worst-case scenario. The band scooped up $200,000 in the first seven days of the effort and ultimately garnered contributions from 8,300 fans. “What surprised me the most was that a small amount of people were able to generate a

he wonders. “It’s good to know that it’s an option, but we’re not going to take money if we don’t need it.”


Experts such as music industry analyst Bob Lefsetz argue that there is little accountability with the practice of crowdfunding and lots of opportunity for artists to rip off fans by not delivering quality products. Also, due to lax oversight, an artist who already has enough money to fund a project can launch a campaign for it anyway. “Cynical people who already have the money

â&#x20AC;&#x153;If you run a crowdfunding campaign for 30 days, what happens on day 31? Thatâ&#x20AC;&#x2122;s where the campaign really begins.â&#x20AC;? â&#x20AC;&#x201C; Benji Rodgers

[to finance a project] are using crowdfunding as a marketing technique,â&#x20AC;? Lefsetz says. Strickler rejected the idea of implementing a â&#x20AC;&#x153;litmus testâ&#x20AC;? that measures the wealth or financial backing of an artist before approving their project, saying, â&#x20AC;&#x153;It doesnâ&#x20AC;&#x2122;t matter how much money is in their bank account. If the world likes a project and wants to back it, thatâ&#x20AC;&#x2122;s whatâ&#x20AC;&#x2122;s important. Weâ&#x20AC;&#x2122;re all grownups here.â&#x20AC;? But to the extent that crowdfunding is still in its kid-on-the-playground stage, with very few rules and restrictions, the school bell could be ringing soon enough. Many crowdfunding advocates have voiced optimism that President Obamaâ&#x20AC;&#x2122;s Jumpstart Our Business Startups Act, which was passed in April 2012, will break open the dams by allowing entrepreneurs to solicit more money online. However, some analysts believe the rulesâ&#x20AC;&#x201C;â&#x20AC;&#x201C;which the US Securities and Exchange Commission is still writingâ&#x20AC;&#x201C;â&#x20AC;&#x201C;will be too restrictive. The JOBS Act will prohibit crowdfunding on websites that arenâ&#x20AC;&#x2122;t specifically registered for that purpose; sites will have to file disclosure documents with the SEC and an individual couldnâ&#x20AC;&#x2122;t invest more than 10 percent of their net worth into crowdfunding within a given year. The federal governmentâ&#x20AC;&#x2122;s imminent crowdfunding intervention also begs the question: Will music fans still support the practice once it becomes uncool? Is crowdfundingâ&#x20AC;&#x2122;s maverick appeal in danger of wearing thin, especially as it becomes normalized through entrepreneurial conferences, LinkedIn groups, how-to books and meetup groups? Will it be dominated by well-establishedâ&#x20AC;&#x201C;â&#x20AC;&#x201C;and presumably well-offâ&#x20AC;&#x201C;â&#x20AC;&#x201C; celebrities like Zach Braff, who raised millions for a film project in mere days? â&#x20AC;&#x153;Crowdfunding is a fad,â&#x20AC;? claims music industry analyst Bob Lefsetz. â&#x20AC;&#x153;People are going to burn out on it, maybe not in three months but perhaps in five years.â&#x20AC;? According to Lefsetz, bands have proven that they can get their money from sources other than labels, which undercuts the establishment, â&#x20AC;&#x153;and thatâ&#x20AC;&#x2122;s very exciting,â&#x20AC;? he continues, â&#x20AC;&#x153;but do I think that Kickstarter is the wave of the future? No.â&#x20AC;?


â&#x20AC;&#x153;Five years from now Kickstarter will hopefully be the same as it is now,â&#x20AC;? Strickler projects. But, as with any online organism, crowdfunding may have to evolve in order to survive. Take as a micro-example the rewards/ perks/bonuses offered by the growing pool of artists competing for the attention of fans and the media. Whereas a signed vinyl or a T-shirt was once enough to persuade someone to contribute to a project, and a project in and of itself was enough to warrant blog coverage, artists have now upped the ante considerably. As I Lay Dying frontman Tim Lambesisâ&#x20AC;&#x201C;â&#x20AC;&#x201C; yes, the guy recently arrested for allegedly soliciting someone to kill his wifeâ&#x20AC;&#x201C;â&#x20AC;&#x201C;gave donors to his Austrian Death Machine side project the chance to punch him in the stomach. Solo rocker Jesse Malin offered to play a softball game with contributors, while singer-songwriter Joseph Arthur even put his tour van on the auction block. Malinâ&#x20AC;&#x2122;s and Arthurâ&#x20AC;&#x2122;s campaigns were featured on PledgeMusic, a mutated version of crowdfunding that could provide clues on how the practice could evolve. As opposed to Kickstarter and Indiegogo, PledgeMusic campaigns donâ&#x20AC;&#x2122;t include financial targets or even timetables. Instead, supports fund a project from its inception through its fruitionâ&#x20AC;&#x201C;â&#x20AC;&#x201C;and beyond. â&#x20AC;&#x153;If you run a crowdfunding campaign for 30 days, what happens on day 31?â&#x20AC;? company founder Benji Rogers asks. â&#x20AC;&#x153;Thatâ&#x20AC;&#x2122;s where the campaign really begins.â&#x20AC;? According to Rogers, a musician gets 30 percent of their income after a crowdfunding campaign, since it can take a while to get fans involved. Accordingly, the average campaign on PledgeMusicâ&#x20AC;&#x201C;â&#x20AC;&#x201C;which charges a 15 percent commission that includes all other feesâ&#x20AC;&#x201C;â&#x20AC;&#x201C;lasts for four or five months instead of one, with the intention of deepening the level of engagement with fans. Rogers calls PledgeMusic a â&#x20AC;&#x153;direct-to-fanâ&#x20AC;? site that guarantees fans get their money back if they donâ&#x20AC;&#x2122;t get the creative product for which they pledged. The best-known musician to launch a campaign on the site is Mike Doughty, who took the fan-solicitation concept to another level by allowing â&#x20AC;&#x153;pledgersâ&#x20AC;? to pick among three versions of the same song, each performed in a different key. He then committed to sending each individual song to pledgers on a signed and numbered digital recorder and, for roughly $35,000, record them a personal message. Such innovation might prove that, whatever the future holds for crowdfunding, music fans can always count on the artists to come through. They existed before there was a music industry, and survived its collapse, and will undoubtedly outlast any new technologies and paradigms. As P-Funk legend George Clinton said when asked to comment on his successful Indiegogo campaign to upgrade his music studio and obtain the rights to some of his archival material: â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s time for people to start getting their music back. WE WILL WIN!â&#x20AC;?

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June 2013 45

I.C. Green

Successful Writer-Producer Steps to the Mic

By Jonathan Widran


arly in Dwight “Skrapp” Reynolds’ multiplatinum career as an R&B/pop songwriter-producer, Clive Davis chose his track “Bombdiggy” to include on the second album by Euro boy band Another Level, commenting, “Dwight creates the kind of song that can shape an artist’s career.” Reynolds spent the next decade fulfilling that promise, working with everyone from Usher (“Love ‘Em All” from Raymond vs. Raymond) and Justin Bieber (“First Dance” featuring Usher) to Akon (“The Rain” from Konvicted) and the late Whitney Houston (“One of These Days,” “Dear John Letter” from Just Whitney). While still a powerful presence behind the scenes—with recent tracks by up-and-coming vocalists LeeLee and Tocarra Hamilton —the multi-talented musician and vocalist has fashioned a unique new identity for his highly anticipated emergence as a solo artist. As I.C. Green, he has signed to RCA/ Bystorm and just dropped his first radio single, the humorous and infectious “Strut,” with features by Busta Rhymes and Pitbull. He is also releasing the bonus track “Y.O.L.O. Turnup” on Soundcloud, while completing work on an upcoming full-length collection (tentatively titled Outside the Box). While sessions have included contributions from Musiq Soulchild and J. Holiday, nearly all of the tracks feature Green playing any number of the many instruments he’s proficient on—piano,

guitar, drums, trumpet and trombone. The Oklahoma born, Flint, MI bred, Atlantabased performer chose his new stage name not simply because he’s that rare African American guy with green eyes. “When you see me,” he says, “I want you to see money, growth and dopeness.” In addition to focusing his writing and producing on his own artistry, Green’s evolution toward becoming an artist also entailed an imaging makeover. When everyone was getting to know “Skrapp,” he was 40 to 60 pounds heavier, with braided hair down

original version just with Busta Rhymes and sent it to my friend Keith Thomas, who was a consultant with Jive. Keith loved it and sent it to (President of RCA Urban Music and CEO of Bystorm Entertainment) Mark Pitts, who wanted to sign me immediately.” Dubbing his vibe “R&B hip-pop,” Green is enjoying the balance of continuing his career writing and guiding sessions for other artists and developing his vision while laying the foundation for his solo career. “When I’m doing my own thing, I have freedom that I don’t have on other projects,” he says. “When you work with an artist like Usher, he’s got his brand in place and you have to put in certain Usher-style runs. Once when I worked with Whitney, I came up with a song and she was candid and said, ‘that’s not me right now.’ Your job is to put the artist first, and a lot of times the general public doesn’t recognize you. But when I’m producing myself, I can get my ideas out there directly and see how people respond.” Making this transition, he adds, “is like throwing caution to the wind. You have to be a steamroller, championing your career and jumping over those high hurdles. So ‘Strut’ is my musical coming out party and, succeed or fail, this is me and I’m here to tell my story and make people sing, dance and feel good. I want to see people upbeat and happy.”

“When I’m doing my own thing, I have freedom that I don’t have on other projects.”

46 June 2013

to his shoulders. After joining Usher as confidante and videographer on his 2005 Truth tour, Green— seeing the powerful results of his longtime friend’s hard work and dedication—decided to start reinventing himself and pursue the spotlight. He got close to his dream in 2009, coming within a week of signing an artist deal with Capitol Records before the label shut down its US-based R&B division. Though dejected, he saw the close call as affirmation of his potential as an artist. “Normally, song ideas come to me when I’m driving at 3 or 4 a.m.; and when I came up with the hook for ‘Strut,’ I drove so fast I could have gotten 10 tickets!” he recalls. “I recorded the

Contact Craig Streaman,, 203-241-6890


10 Tips: Ordering Your Custom Instrument


ver consider having an instrument made to your exact specifications? Some musicians swear by it. They love the unique look and the feel and sound of a custom axe. Others (like yourself, maybe?) have never looked into it. In the following tips, expert luthier Jonathan Eric Wilson fills you in about his craft and discusses the special considerations that come with a typical custom order. 1. Think it through. Having an axe specially built can be one of the most thrilling experiences in your life. A few practical questions, however, should precede the typically expensive monetary outlay. Is this unique 150 string harp guitar with double kick pedals something that will be the very tool your musical art requires? Will this instrument be a game changer for your career or will it be a vanity trophy in your million dollar home theater?

will as well. If you are ordering a custom version of a stock instrument through a well known factory builder, you are essentially hiring that company/brand to direct their star employee (resident master builder) to carry it out and the company support staff will handle the rest. On the other hand, in the case of the independent “limited production, custom” builder, you are likely dealing with the craftsman/artist/boss himself. In that case, operational policies and procedures will vary from builder to builder. 6. Know the mutual gamble. On one hand, “you are the customer” and are paying what seems like a king’s ransom for this unique piece. You expect to be served well (and you should be). Be aware, however, that

the actual woodwork on the bench fitting into that day, have we?) A day, week, month gets away very fast under those conditions. 7. Be patient! Refer to number 6. 8. Plan it out. Commissioning an expensive custom instrument is a big deal. The build can span weeks, months or even years in some cases (depending on the particular luthier’s workload and demand). The “hands-on” build time is one thing. Getting to the build in a long queue of work is another. Being aware of this reality may be helpful in planning the funds. Some luthiers require half up front, while others may offer an incremental plan over the the course of the build. Research the business model—not all builders operate the same way. 9. Resist the urge to haggle. Custom builds are unique oneof-a-kind creations and are not commodities. A luthier’s unique skill and life experience goes into non-factory line builds. On the other hand, if you think you can do better with less, go for it; there has never been a better time to become an amateur luthier. (It could be a fulfilling life experience and you will gain newfound respect for the amount of work involved.) Some builders take on apprentice/interns.

2. Define your purpose. Having a clear idea about what you are after is one thing. On the other hand, you may have seen an instrument on some obscure YouTube channel that you cannot imagine yourself living without! Define your vision. 3. Do your Research. Not all luthiers have equal styles, specialties or operational models. Some are master craftsmen who can duplicate the most minute of details involved in recreating a classic. Others are craftsmen/ engineers who are not afraid to challenge the wisdom of tradition in the name of “advancing the state of the art.” Still, others may be artists looking for an insanely gratifying build that “one ups” the last one. Take time to find a good match. Also, if you are ordering from out of the country, research what the customs duties (tax) and shipping may be. 4. Reach out. Websites can offer a lot of valuable information and forum reviews can be helpful. Ultimately nothing can substitute direct contact with the luthier (himself or herself). Even a luthier who is 24 months backlogged with work is most often happy to receive your email, Skype or phone call. You are much of the reason they do what they do (beside the fact that they could not work in someone else’s corporate cubicle farm and remain sane)! If you are drawn to the artist’s work, you are likely to make a personal connection as well. Though this is business, a good rapport (vibe) is also important. A mutual excitement about the vision is essential to the outcome! 5. Understand the business model. Styles, specialties and, yes, personalities will vary. Likewise, models of business operation

the guy on the other end who is building your special axe is a real human being putting his/ her family’s livelihood into this project. In terms of payment, the usual deposit gets the ball rolling with materials and expenses. The rest involves many painstaking hours to make the rest of it happen. The project proceeds with the understanding (faith) that the delivery will coincide with the payment at the end. Respect goes both ways. 7. Communicate. Whether it is a detail about that special tint of a sunburst, or (gulp) you anticipate a delay in final payment and delivery time, always be upfront. Some luthiers will work around those things by moving on to the next job (their livelihood depends on it) and returning to your build when things are in better harmony on your end. Bottom line? Keep the communication open. 6. Resist the temptation to be a pest. Although your calls and emails are a happy part of the luthier’s gig, wearing all of the “hats” of the business (chief, cook, bottle washer, cubicle monkey, fireman, PR, marketing, communications, and general manager in charge) is another. (We have not mentioned

10. Know what you are getting into. A custom build is not for everybody. Commissioning that special 150 string harp with a double kick pedal involves a lot more engineering time and budget than that special inlayed Strat. Also, if you are considering a copy of some other famous make, beware! Many builders will refuse such a proposal for reasons of legality and integrity. In recent times, known (copy) builders have been facing devastating trademark/patent lawsuits. If you really want a dead-on “Strat,” “Tele” or “Paul” copy, the best advice is to approach the custom shops of those companies that made them famous in the first place. Also know that a commissioned instrument is a commitment and not an appliance you can simply return to the store.

JONATHAN ERIC WILSON is CEO of GuitarViols Inc. His exotic “TogaMan GuitarViols” (bowed viola-guitar hybrids) are routinely used by recording artists and composers all over the world. They can be heard in movies spanning from 300 to Black Swan to Clash of the Titans and TV scores such as Revenge (ABC), Hell on Wheels (AMC), The Following (FOX), True Blood (HBO) and videogames such as Borderlands and Medal of Honor. He also has a solo album out on Lakeshore Records (Amazon/itunes) entitled GuitarViol. He also has an upcoming psychedelic ‘60s style project, Liquid Light Brigade. For more info, see, email or call 818-268-5602.

June 2013 47

Todd Rundgren State

MVD Audio/Cherry Red Records Producer: Todd Rundgren


Ed Gerhard

There and Gone Virtue Records Producer: Ed Gerhard


Molly Ringwald Except Sometimes

Concord Records Producer: Molly Ringwald & Peter Smith


City and Colour

The Hurry and The Harm Dine Alone Records Producer: Alex Newport


Rundgren has always been the consummate auteur; singer-songwriter/guitarist/ producer and all-around technological innovator. On his latest he employs the “one man band” approach once again with, mostly, favorable results. The sonic atmosphere is impressive, with the densely electronic “Imagination.” His use of clever sequencing matched with dynamic and insightful content sets a riveting tone. “Serious” follows and erupts in a frothy vibe of Funkadelic meets Hendrix. There are a couple misfires, where audio gimmickry and lyrical tedium emerge, on tracks such as “Angry Bird” and “Collide-A-Scope.” But the starkly vivid “Smoke” and “Something from Nothing” rank right up there with the artist’s best. –Eric A. Harabadian Gerhard is a Grammy-winner who has always been respected by musicians as a guitarist’s guitarist. On this, his ninth album in nearly 30 years, he secures that storied reputation with a cache of charming acoustic-based instrumental gems. This is ideally a headphone disc, as his nuanced string bends and tasteful chord passages envelope one’s ears with a velvet touch. The song selection is a hefty mix of originals and nods to influences such as Hank Williams, Leo Kottke and the Beatles. Over his illustrious career the guitar master has run the gamut from trad blues and country to new age, folk, classic pop and jazz. He draws from that bountiful well here and the evidence finds a man at one with his instrument. –Eric A. Harabadian Fans of the ‘80s teen icon, and skeptics alike, may wonder why she is suddenly turning her artistic attention to jazz, but Molly Ringwald has not only got it in her DNA—her dad, Bob Ringwald, is a notable pianist and bandleader—but she was recording with him long before she began acting. Ringwald lends her cool, sultry vocals and strong instinctive phrasing to a colorful mix of standards, sweetly balancing the playful swing and gentle intimacy with the help of her ensemble of top musicians, led by pianist Peter Smith. Jazz radio has rightly jumped first on her graceful twist on “Don’t You (Forget About Me),” which infectiously blends her past and present and resonates emotionally beyond its inclusion as a nostalgic novelty. –Jonathan Widran On this, City and Colour’s fourth installment, Dallas Green and company dip back into folkier songwriting with heavy Americana undertones. This is a collection of singer-songwriter roads paved with heavy-hearted lyrics about various topics—and the first release since Green’s departure from Canadian hardcore outfit, Alexisonfire. The earnest “Of Space And Time” discusses his departure, while “Paradise” draws nostalgia for Bring Me Your Love. Instead of wearing all the hats, Green rounded up an indie super-outfit this time around, including Dead Weather’s Jack Lawrence on bass, My Morning Jacket’s Bo Koster on keys, Spencer Cullum on pedal steel and Matt Chamberlain and James Gadson on drums. Well done. –Andy Mesecher

Joe Satriani

Unstoppable Momentum Epic Records Producer: Joe Satriani & Mike Fraser


Lauren White Meant To Be

Cherry Pie Productions Producer: Quinn Johnson


Daft Punk

Random Access Memories Columbia Records Producer: Daft Punk


Capital Cities

In a Tidal Wave of Mystery Lazy Hooks/Capitol Records Producer: Capital Cities


Unstoppable Momentum continues Joe Satriani’s galactic reign as supreme commander of instrumental rock guitar. With Vinnie Colaiuta on drums, Chris Chaney on bass, and Mike Keneally on keys, flawless production is offset by musicianship that is as good as it gets. Satriani’s mastery is in evidence throughout. The single “A Door Into Summer” harkens back to the radio friendly “Summer Song,” while the blazing guitar in “Lies And Truth” speaks to hardcore fans. The rest of the album rocks mightily with varying grooves, textures and inspired band interaction. Unstoppable Momentum is top-notch Satch playing at the height of his musical powers. –Oscar Jordan Lauren White launches her indie recording career with a colorful resume behind her, including shows on and off Broadway, acting on soaps and working for years as a popular cabaret performer. With her powerhouse range, it would be easy to approach this eclectic mix of material from the worlds of pop, bossa nova, showtunes, jazz and Great American Songbook with great theatricality, but instead White offers an intimate invitation, letting the beauty of her voice go inside the lyrics to share emotions in a more subtle way. Beyond offering fresh interpretations of colorful tunes from Ivan Lins, Carole King, Susan Werner, et al., she may just inspire listeners to embark on a whimsical musical discovery tour of their own. –Jonathan Widran Fresh off taking over a Coachella festival they didn’t even attend, Daft Punk are back to “Give Life Back To Music.” Possibly the most-anticipated album in electronic music history, Bangalter and Homem-Christo bring in an all-star cast including Pharrell Williams, Nile Rogers, Giorgio Moroder, Julian Casablancas and composer Paul Williams. With very little sampling involved (only in the album-ending “Contact”) Random Access Memories is a different approach for Daft Punk—instead featuring live drums, groovy guitars and funky bass lines. Club numbers like “Lose Yourself To Dance” and “Get Lucky” play their role while more intimate tracks, like the ballad “Beyond,” evoke fresh emotions for longtime fans. –Andy Mesecher Capital Cities’ debut album is as beautifully powerful and majestically captivating as the title suggests. Ryan Merchant and Sebu Simonian keep their retro ‘80s electro-pop sound fresh with spurts of synth-laden beats, upbeat jazz tempos and smooth L.A. style (take the hip-swaying tune “Farrah Fawcett Hair,” featuring Outkast’s Andre 3000). Tracks like “Lazy Lies” and “Center Stage” offer danceable swag with a heavy dose of feel-good nostalgia. With sun-soaked summer days on the horizon, In a Tidal Wave of Mystery is a must for anyone’s “grooving on the rooftop bar, sipping on a drink” playlist (“Love Away” check it out). –Danica Bellini

To be considered for review in the CD Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.

48 June 2013

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Caroline Rose

Tracy Walton

Contact: Web: Seeking: Booking, Film/TV Style: Alt., Singer-Songwriter Username: CarolineRoseMusic

Contact: Web: Seeking: Booking, Film/TV, Label Style: Country, Americana Username: Tracy walton

A gritty, husky pop/blues feel reminiscent of Adele and Grace Potter crackles from these tracks recorded in Vermont by artist Caroline Rose with cohort Jers Coons. The foreboding "Here Come The Rain" and hooky, skippy "This Is What Livin' Feels Like" is just a prelude to the vitality and intelligence that erupts on "America Religious"; on this tune Rose's genuine spirit, supported by fiddle and standup bass, gives voice to a burst of guarded optimism that glides by like a passing landscape. Rose is an artist whose work invites repeated listens.

Walton is a singer-songwriter with promise. His best tune, "Walls," allows him to wax philosophic on life's barriers, and the downhome mandolin and churchy singalong chorus prove infectious. The folky, sentimental "Songs for You" has interesting chords and allows his sturdy voice to show dimension. Walton duets with a female counterpart on "Redeemed" and the results, with excellent pedal steel, are quite appealing. Once he achieves a consistent vocal identity, there's no telling how far Walton could go.

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Reed Turner

Contact: Web: Seeking: Booking, Film/TV, Radio Style: Country, Americana Username: switchback

Contact: Web: Seeking: Film/TV Style: Folk Rock, Americana Username: reedturner

Rootsy Chicago duo Switchback achieve impressive vocal harmony on their new tunes. The rowdy roadhouse number "Pour Me" is a yee-haw call-to-arms for all thirsty drinkers and showcases an uncluttered attack that leaves room for tight guitar solos. "Van Tassell" shifts to a wan and wistful tone thanks to some tasty panoramic pedal steel. The menace of Midwest tornados are the focus of "High Plain Killers," which features an arrangement that utlizes spooky slide-guitar to great effect. We're impressed by this act's versatility.

Austin, TX troubadour Turner gives us the moody, eerie and liberally reverbed "Modern Man" which starts softly but then oh-so-subtlely adds elements that appear as if by magic. Though the song doesn't quite peak, it succeeds as an effective tone poem. "Killed That Girl ('cause she was killin' me)" is inhabited by a deep twang, a bootstomping spine akin to Devil Makes Three to provide the backdrop for a classic folk-blues saga. Turner shifts to a sweet, tender mode for "Room For Doubt," his most Americana outing graced by a beautiful pedal steel guitar.

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Luis Oliart


Contact: Web: Seeking: Radio, Label, Booking, Film/TV Style: Rock, Blues Username: luisoliart

Contact: Web: Seeking: Mgmt, Booking, Film/TV Style: Hard Rock, Pop Username: varna

Singer-guitarist Luis Oliart and his cohorts recorded live-in-studio and it was the right decision as his bluesbased material oozes feel, tone and spontaneity. The snarling, downcast "Just Another Day" is a crafty bluesrocker that ultimately delivers a Bon Jovi flavor. "Move On" is a lighter outing with Rhodes keys carrying the tune's tone of resignation, and "Let It Go" is where Oliart, a better guitarist than singer, lets 'er rip on this energetic, funky, gut-bucket blues strut that red-zones to great effect. It would perfectly complement a great biker-bar scene in a film or TV show.

L.A. trio have a decided 2000scentric sound a la Staind and Trapt but with a female lead vocalist, Tiana Woods, which gives the band an Evanescence vibe. The ultimate downside is that these songs of anguish, chaos and regret ("Running Away," "Down" and "My Heart") are so similar in pace and arrangement that they fail to be memorable. Still, there's a solid footing here and we'd like to see Varna work to build something distinctive atop it. As they gain confidence these players might create something daring that takes a familiar format to new realms.

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Music Connectionâ&#x20AC;&#x2122;s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page. 50 June 2013

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Core Zero

TJ Doyle

Contact: Web: Seeking: Film/TV, Distribution Style: Hard Rock/Metal Username: corezeroband

Contact: Web: Seeking: Booking, Film/TV. Mgmt Style: Rock Username:

Credit this Denver band for trying to meld two streams of hard rock into one raging river, but it proves to be an uneasy blend. "Labor of Rage" is a good example: it starts hard and tough but quickly settles into familiar territory, somewhere between Puddle of Mudd, Alice In Chains and (vocally) Metallica as singer Bryan is a solid crooner but his screams (on "Give It All") don't quite deliver. "Neglect" is much more metal and almost sounds like a different band. These guys can certainly play, but they need to reappraise and refocus. Right now the ingredients don't gel.

With his all-pro support group and a voice that packs a hint of Neil Young, singer-songwriter TJ Doyle is dedicated to saving our earthly environment. Unfortunately, "Favorite Places," "Everything" and "Like A Child" suffer from direct, preachy lyrics that lack a poet's touch. As an apparent effort to provide a counterweight, the kick drum and bass are boosted to provide some bonafide rock ballast. Though the melodies do not stand out, there are nice touches in these tracks (awesome guitar harmonics and nice percussion) to make it engaging.

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The Rookie Militia


Contact: Web: Seeking: Booking, Label Style: Rock, Alternative Username:

Contact: Web: Seeking: FilmTV, Booking, Label Style: Soul, Progressive Username: drea

TRM's lead singer has a hoarse tonality that we like and the vocal melodies are clever at times, but the band is handicapped in numerous other ways as it attempts a poppunk formula with Reel Big Fish overtones. "Behind the Scenes" suffers from drumming that is dull and unimaginative and "Words From A Gypsy" is plagued by a bad mix. (If this is truly a punk-influenced band, where is the bassist?) Still, the tunes are pretty catchy. We suggest adding an adept guitar player to free up the singer and help these rookies rise from up the minors.

Lady knows how to build an intro as the sexy, seductive "Hooked" adds tones with mounting pleasure. The song, however, doesn't quite arrive at a climax; rather, it amounts to an infectious funk-soul groove that warms and soothes the ear. The artist's ballad "Call Me" enters with a flourish of harp, violin and piano, and invites Drea's voice to leave its comfort zone—though she doesn't thrive in the lower register. The best production is "Come to Me," but it is clear that a co-writer could really boost this artist's prospects and help realize her vision.

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Jason Dickson

Pierce Brochetti

Contact: Web: cused Seeking: Promotion, Film/TV, Studio Time Style: Positive Hip-Hop Username: jasondickson

Contact: Web: Seeking: Booking, Label, Film/TV Style: Rock, Jazz Username: pierce brochetti

It's too bad Dickson's production quality hampers his overall score, because he has a superior instinct for what makes a song connect. He dishes something interesting in every track: the croaking lead rapper in "Beauty From An Unknown," the cheap mouth-organ in "Ace Up My Sleeve," the strong hook that drives "Hold Up." Here's an artist doing a lot with a little, and it all comes off like a passion project, something akin to Hustle & Flow. We urge Dickson to connect with a savvy producer who can help realize his potential.

Dude can play. The notes fly like sparks off a blowtorch on the instrumentals "Aries," "Used & Abused" and "Mind Your Own Business." But if you ask if any note or chord truly makes you feel...? Well, not really. Brochetti can dazzle, but we'd like to see him develop something a bit deeper and soulful. At this point he is merely skimming the surface. And while his material is perfect for videogame scoring, the production quality—in which everything is muffled except for the lead guitar—will get him no traction with music supervisors.

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SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. June 2013 51

Great Scott Allston, MA Contact: Web: The Players: Keith Freund, vocals, guitars; Blake Fusilier, bass, vocals; Chris Oquist, drums. Username: RIBS

Musicianship: No sophisticated licks or gilded orchestration mark this ear-popping trio of rhythm and blood. Several songs begin with a dread-filled drone that stretches on too long before inevitably giving way to their delectable, sinister beats. This quality becomes subverted once anthemic lyrics are injected into the mix. It’s a pairing that is jarring and doesn’t particularly work, especially considering the muddy vocals that never leave the listener humming. Performance: It is amazing how lighting can generate dramatic atmospherics. Toting their own set of illumination, RIBS are bathed in a shifting rainbow of color and jittery strobes. It is an effective choice that others should imitate, as well as their cleanly branded drum kit. The band’s level of comfort on stage should also be commended, as the audience responded in kind to their glib comments and boffo stage presence.


Summary: It is frustrating to critique a group that have gained such promising momentum. One admires how far they’ve come absent the aid of traditional industry support and it’s evident their followers maintain blind faith in their artistic powers. But there’s a structural problem within the group’s makeup that will


Material: Jagged rhythms get magnified by an unapologetic crush of distortion, delay and reverb, then one topped with alt-rock styled vocals that have been compared to NIN and U2 with this Boston-based breakout band. They’ve received spins on stations including WFNX, been featured on MTV’s Teen Mom 2, seen their song, “Alarms,” made available for Rock Band 3 and won the Boston Music Awards’ Rock Artist of the Year for 2012, all while remaining entirely DIY. It is especially impressive for an act that doesn’t particularly groove.

prove difficult to overcome—namely, they’re stitching together two sensibilities that don’t pair well and most won’t stick around once the rush of late night adrenaline has worn off. It’ll be interesting to witness how long fandom can continue propelling RIBS’ vision. –Andy Kaufmann

The Hotel Cafe Hollywood, CA

Material: Direct from Nashville, Shannon LaBrie’s band transitions from soul to jazz and country without being too jarring. “Gettin’ Tired” is the highlight, adding a dash of Santana/ Matchbox 20 spice to the set with a song that conjures up imagery of salsa dancing on an island getaway. “Headline” is the self proclaimed soap box song. LaBrie explains that the lyrics question the timeliness of media coverage desperately needed for a community prior to the devastation of a natural disaster, “Why do we wait till love’s in fashion? We sit till we’re told to stand, why do we wait for one good headline, before we’ll give a damn?” The song is reminiscent of Carole King’s “Believe In Humanity,” exemplifying why LaBrie has been compared to the artist. By the time we reach “Just Be Honest” and “I Remember A Boy,” the music is deep into the country you would expect of a Nashville band. The melody hooks are supported by the repetition of the chorus lyric leads, ensuring these songs will get stuck in your head! Musicianship: The mix is a perfect balance with not one performer overblowing another. 52 June 2013

SHANNON LABRIE Double Gibsons for lead and rhythm guitar make for fun, chunky syncopation. Performance: Todd Shay stole the show with killer solos and especially nailed it on “Gettin’ Tired.” The audience certainly did not tire of the craftsmanship! LaBrie took to the house piano for the soulful “Heartache Of Love” and “Secret.” The latter showcased a solid band capable of melding piano into the overall compositions. LaBrie is a very controlled singer as well as an engaging performer. Since the band are currently on tour, the travel-sized drum kit appeared to be stripped to a bare house minimum, which resulted in less-than-dynamic drum solos and


Contact: Brett Vargason Web: The Players: Shannon LaBrie, lead vocals, piano, guitar; Tom Michael, bass, backup vocals; Brett Vargason, drums; Todd Shay, guitar. Username: shannonlabrie

missed fills for certain songs that wanted just a little more resonance. Despite this, LaBrie and company locked in for seamless changeovers to support the opening monologues which kept the pace of the set interesting. Summary: LaBrie’s debut album Just Be Honest was released in February. The single would have to be “Gettin’ Tired” as it truly showcases Latin and jazz influences, not unlike Carole King’s “Corazon.” However, songs like “Lions Cage” embody the lion’s share of the band’s sound which is best targeted to fans of Joss Stone. –Brooke Trout

yields unexpected harmonies with a level of complexity that is rare. All three members are talented singers, with Amber and Bias taking the lead. Their blend will knock your socks off and Bias’ alto range is stunning. Each voice has a nice airy, silky quality that contributes to a tight blend. With Bias on the low notes and Amber an octave higher, King’s sound feels impossibly full for a trio who don’t rely on vocal effects.


The Sayers Room

Hollywood, CA

Contact: Web: The Players: Paris Strother, backup vocals, keyboards; Amber Strother, vocals; Anita Bias, vocals. Username: weareking Material: An R&B trio with jazz and soul influences, the members of King deliver

Hotel Café

sophisticated vocals and melodies that feel of a different time. Their distinctive songs, which are written and produced by the group’s Paris Strother, feel familiar in a nostalgic way, but stand up as rich pieces of a complex composition. Musicianship: It is clear from their vocal and melody choices that King are formally trained. Paris and Anita Bias met at Berklee College of Music and their musical education

Performance: The trio performed a short, five-song set in which their music was clearly the focus. The group were humble and softspoken between songs. While they seemed comfortable on stage, entertaining the crowd with nonmusical bits proved not to be King’s strong suit. Amber’s vocal range just about stole the show on “Supernatural Love,” with her clear high notes, jazzy riffs (which Bias follows without missing a beat), and scatting that showcased impressive control and tone. Bias and Amber traded off lead vocals while Paris played both the bass line and the keys. She also added a third part to the vocal line and carried the set’s between-songs banter. Summary: King have already received quite a bit of attention from the industry, and for good reason. The trio’s vocal talent is undeniable. Their stage presence, however, is miles behind their music. Taking on more and more live gigs will enable this unit to exude a level of confidence that will lead to a deeper connection with audiences. –Karen Emmert

Hollywood, CA

Contact: Web: The Players: Kyle Henderson lead vocals, guitar; Tyler Osmond, bass, backing vocals; Patrick Boyer, guitar; Brennan Allen, drums. Username: desertnoises Material: Armed with a bevy of finely tuned songs, Desert Noises perfectly blur the lines between blues, rock and Americana. The mid-tempo “I Won’t See You” creates a lingering sense of yearning, while the soaring, guitar driven “Grandma” ups the energy. The group have an uncanny ability to fuse old-school substance with new-school style. They’d fit as naturally on stage with modern artists such as Kings Of Leon or Cage the Elephant as they would with a classic great like Fleetwood Mac.

Performance: The band started with the high energy of “Grandma”, riding that wave of sound

DESERT NOISES into their second track “Out Of My Head.” One of the set’s true highlights came next—as a rollicking, percussive intro moved into the gorgeous two-part harmony vocals of “Oak Tree.” The track felt straight from the heart, as Henderson sang “I see clearly now that I’m falling for you, but you haven’t fallen for me,” later hitting the wistful chorus “Meet me by the old oak tree, we’ll watch the mountains fall into the sea.” Another standout song was “Birds,” a song inspired by Stephen Hawking. The set’s closer, “Angels,” was powerful and moving, with a bass line that struck right to the core. The concise


Musicianship: The music of Desert Noises reflects the sound of four talented musicians working perfectly together, each supplying an essential element to help make the songs great. Frontman Kyle Henderson brings unadulterated emotion into every lyric he sings, while guitarist Patrick Boyle fills the air with crisp, perfectly honed riffs. Sometimes solos can feel superfluous and self-indulgent, but that’s never the case here. Each one of Boyle’s sonic adventures fits perfectly in the songs they accompany. Meanwhile, the band’s rhythm section crafts a tight foundation for each track. Brennan Allen supplies a fantastic backbeat on drums, while Tyler Osmond’s bass and backing vocals add depth and feeling.

nine-song set went over very well with the crowd, as evidenced by the standing ovation the band received at the end. Summary: Desert Noises seem primed for something big. Their sound would slot perfectly into any summer festival lineup such as Coachella, Lollapalooza, etc… In the meantime, the band have spring tour dates planned across the US. Catch them in a small club while you can; their progression to big rooms appears inevitable. –Corey Irwin June 2013 53

Hotel Cafe

Hollywood, CA

Contact: Doug Deutsch, Web: The Players: Candace Devine, vocals; Dave Yaden, vocals, piano; Will Artope, trumpet; Donald Barrett, drums; Darwin Johnson, bass; Brandon Sweeny, guitar; Sean Hill, spoken word poet. Username: davidanddevine Material: The result of bringing two commercial L.A. songwriters together to have a good time, David and Devine create music that does just that. The sound is shiny, glitzy, a trip directly into the late ‘70s and early ‘80s. Although marketed as “R&B/Soul,” it is more Bee Gees than Isley Brothers. Think Stevie Nicks and Kenny Loggins with “Whenever I Call You Friend” and you’re in the right playlist. The song “Saturday Night” is a perfect example of a well-crafted and well-produced dance-pop tune that could be firmly planted into the Top 40 of 1978, with a few slightly modern touches. Kenny Loggins is most definitely an influence here, and in many of the songs. Some more interesting, soulful, hip-hop elements are mixed into this particular set, with poet Sean Hill taking the stand to lay down some thoughtprovoking spoken word. Musicianship: The musical abilities of both Yaden and Devine are unquestionable. With a rich, raspy, powerful voice, Devine delivers great skill and delicacy regarding pitch and dynamics. Yaden is an excellent and entertaining pianist/keyboardist, taking appropriate moments to show virtuosity, and his

DAVID AND DEVINE voice is well suited for this style of music. The band David and Devine have assembled is worth the price of admission. Particularly pleasing is the rhythm section of drummer Donald Barrett and bassist Darwin Johnson. The soul, the funk, the “fun” of this music is embraced and transmitted by the brilliance of players at this caliber. Guitarist Brandon Sweeny and trumpeter Will Artope sit in to complement the tunes but do little to stand out or distract. In other words, this is a truly professional ensemble. Performance: David and Devine presented perhaps the most entertaining performance of live music in a venue of this size in the city of L.A. this year. All starting with a dramatic, miraculous costume-change to begin the

set, revealing a sexy, glitzy Devine, the night had a perfect mixture of intimate and wild, and generally paid homage to the art of entertaining. Both Yaden and Devine seem to know each other well and have a chemistry that makes it fun and exciting, and the set list had a flow that kept the night moving forward, captivating an eager Hotel Café audience. Summary: This is pop music of the brightest and snappiest variety, but with a touch of soul. Regardless of whether the pop music of late ‘70s/early ‘80s seems like a good idea, this music is impossible not to dance to, or at least smile while listening. True entertainers, David and Devine may just have found a niche in today’s music industry. –Tim Reid, Jr.

The David Rubenstein Atrium at Lincoln Center New York, NY

Material: One of the more celebrated groups to come out of Ireland, this quintet have been endearing themselves to US audiences since the late ‘90s. They recently graced the stage at the Lincoln Center Atrium to debut songs from their new release, Lúnasa, with the RTÉ Concert Orchestra along with some of their staple repertoire. The band is known for double bassdriven/guitar inspired songs that mix original and traditional Celtic songs from several regions throughout Ireland. “Morning Nightcap,” one of the band’s originals (and best known songs), opens with a pop style guitar intro and references shades of an Irish gigue featuring flutes, whistles and fiddle trading off solos before joining together to build a strong climax. “The Last Pint,” written by French guitarist Pierre Bensusan, is almost nursery rhyme-like, again featuring dueling pipes, flutes and whistles with a string pad underneath. Musicianship: The playing is technically flawless, clean and rhythmically spot-on, opening the door for more freedom of expression. Each instrument has its place of importance depending upon the song. The band also displays true camaraderie which adds to their overall appeal and audience connectivity. 54 June 2013


Performance: Frontman Kevin Crawford, who acted as emcee and main conduit between band and audience, worked tirelessly to keep the evening moving and the crowd more than entertained, especially between songs. His charm and wit established an immediate rapport with listeners, giving detailed intros or anecdotes for most every song. The majority of the repertoire comprised upbeat numbers; however, a few more ballads would have been welcome especially since Irish music (the more pensive songs) has the ability to cut like a knife through the soul leaving you with that bittersweet feeling of longing and desire.


Contact: Web: The Players: Ed Boyd, guitar; Trevor Hutchinson, double bass; Kevin Crawford, flutes & whistles; Seán Smyth, fiddle & whistles; Cillian Vallely, Uilleann pipes & whistles. Username: Lunasa

Summary: Lúnasa do not stray far from their Irish roots, but they have contemporized their set with guitar intros and pop elements including material from other Celtic regions like Brittany and Scotland. They have recorded nine albums and have performed over 1,500 concerts to date. The latest release, takes Irish music into an orchestral setting which is more of a rarity. Capturing the true essence of their native Ireland with its mixture of haunting and joyful melodies, along with Crawford’s engaging persona, will undoubtedly keep fans in tow for years to come. –Ellen Woloshin

24 Annual Directory of th

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Everything Indie

Download This Directory From Our Website:

Compiled By Denise Coso


f you’re an independent minded music-maker, this unique, exclusive Music Connection directory of indie labels, marketers/promoters and publicists will prove indispensable to you. All information in this directory has been updated for 2013 by the listees.

Indie Labels

1-2-3-4 GO! RECORDS 423 40th St. Ste. 5 Oakland, CA 94609 510-985-0325 E-mail: Web: 4AD RECORDS 17-19 Alma Rd. London, SW 18, 1AA, UK E-mail: Web: Roster: Blonde Redhead, Anni Rossi, St. Vincent, Camera Obscura Additional locations: 304 Hudson St., 7th Fl. New York, NY 10013 2035 Hyperion Ave. Los Angeles, CA 90027 825 RECORDS, INC. Brooklyn, N.Y. 917-520-6855 E-mail: Web: Styles/Specialties: Artist development, solo artists, singer-songwriters, pop, rock, R&B 10TH PLANET RECORDS P.O. Box 10114 Fairbanks, AK 99710 E-mail: Web: 21ST CENTURY RECORDS Silver Lake, CA 323-661-3130 E-mail: Web: Contact: Burt Levine A389 RECORDINGS P.O. Box 12058 Baltimore, MD 21281 E-mail: Web: AARON AVE RECORDS 602 Jefferson St. Arlington, TX 76012 817-274-5010 E-mail: Web: AARON RECORDS P.O. Box 428 Portland, TN 37148 615-325-3340 E-mail: Web: ABET MUSIC 411 E. Huntington Dr. Ste. 107-372 Arcadia, CA 91006 866-574-0275 Fax 626-236-5591 E-mail: Web: Styles/Specialties: electronica, acoustic, ambient, chill, rock, alternative, world music and classical

Web:, Styles: alternative, indie, Latin, rock, acoustic, Roster: Claudio Valenzuela, Pink Noise, Jeremy Swan and the Black Waltz. Representing for music placement: Mimes Of Wine, Scarlletta, Cano Aragon, Aircrafting, El Dorado ACE FU RECORDS P.O. Box 552 New York, NY 10009 201-401-8482 E-mail: Web: ACTIVATE ENTERTAINMENT 11054 Ventura Bl., Ste. 333 Studio City, CA 91604 818-505-0669 E-mail: Contact: Jayson Williams A&R Styles/Specialties: urban, hip-hop, rock, metal, soundtracks A-F RECORDS P.O. Box 71266 Pittsburgh, PA 15213 E-mail: Web: ALIAS RECORDS 838 E. High St. #290 Lexington, KY 40502 E-mail: Web: Styles/Specialties: indie-rock, singersongwriters, electronica Distribution: ADA *No unsolicited material ALLIGATOR RECORDS P.O. Box 60234 Chicago, IL 60660 773-973-7736 E-mail: Web: ALTERNATIVE TENTACLES P.O. Box 419092 San Francisco, CA 94141 510-596-8981 Fax 510-596-8982 E-mail: Web: Styles/Specialties: punk rock, spoken-word, underground *Unsolicited material accepted AMATHUS MUSIC P.O. Box 95 Hewlett, NY 11557 E-mail: Web:, Contact: Chris Panaghi Styles/Specialties: dance music, electronic, pop AMERICAN EAGLE RECORDINGS 13001 Dieterle Ln. St. Louis, MO 63127 888-521-8146 Fax 314-984-0828 E-mail: Web:

ABSOLUTE RECORDS P.O. Box 681853 Franklin, TN 37068 E-mail: Web:

AMERICAN LAUNDROMAT RECORDS P.O. Box 85 Mystic, CT 06355 860-460-8903 (business inquires only) E-mail: Web: *Not accepting demos

ACCIDENTAL MUZIK, INC 1312 N. Ave. 45, Los Angeles, CA 90041 323-316-4932 Contact: Adam Moseley E-mail:

AMHERST RECORDS 1762 Main St. Buffalo, NY 14208 716-883-9520 Fax 716-884-1432 E-mail: Web:

ANTI2798 Sunset Blvd. Los Angeles, CA 90026 213-355-5000 E-mail: Web:, antirecords API RECORDS P.O. Box 7041 Watchung, NJ 07069 E-mail: Web:

Winters, Mates of State, Menomena, Nada Surf, Rilo Kiley, Jesse Sykes & the Sweet Hereafter, Rocky Votolato, What Made Milwaukee Famous, Ra Ra Riot, Phantogram, the Globes, Ramona Falls, the Wooden Birds, David Bazan, Maps & Atlases, and Say Hi Distribution: Redeye *No unsolicited material BASEMENT BOYS INC. 510 Jasper St. Baltimore, MD 21201 410-383-9103 Fax 410-383-9103 E-mail:, Web:

APPLESEED RECORDINGS P.O. Box 2593 West Chester, PA 19380 610-701-5755 E-mail: Web:

BEC RECORDINGS P.O. Box 12698 206-691-9782 Seattle, WA 98111 E-mail: Web:

ARCTIC SIREN PRODUCTIONS 4105 Turnagain Blvd., Ste. L Anchorage, AK 99517 907-245-7311 E-mail: Web: Contact: Peggy Monaghan ARENA ROCK RECORDING COMPANY 17 S.E. 3rd Ave., Ste. 405 Portland, OR 97214 E-mail: Web: ARKADIA LABEL GROUP/ VIEW INC. P.O. Box 77 Saugerties, NY 12477 845-246-9955 E-mail: Web: ASINNI RECORDS Houston, TX 77083 E-mail: Web: ASTRALWERKS RECORDS 150 5th Ave. New York, NY 10011 212-786-8082 E-mail: Web: Styles/Specialties: electronic/rock *No unsolicited material accepted AV8 RECORDS 630 9th Ave. 9th Fl. New York, NY 10036 E-mail: Web:

BEGGARS GROUP (Also XL Recordings, Rough Trade Records, Matador Records, 4AD) 304 Hudson St., 7th Fl. New York, NY 10013 212-995-5882 E-mail: Web: Contact: Matt Harmon, president Styles/Specialties: indie-rock, pop, electronic and many more Roster: Badly Drawn Boy, Tindersticks, the National, Peaches, Atlas Sound and more Distribution: ADA Additional location: 2035 Hyperion Ave. Los Angeles, CA 90027 213-341-4823 BIELER BROS. RECORDS 4100 N. Powerline Rd., Ste. U-5 Pompano Beach, FL 954-979-4781 Fax 954-979-9709 E-mail: Web: *Accepts unsolicited material BIG DEAL RECORDS (part of BMG North America) 4658 Wortser Ave. Sherman Oaks, CA 91423 818-789-4483 Styles/Specialties: pop, rock, R&B *No unsolicited material Additional location:

AWARE RECORDS 1316 Sherman Ave. #215 Evnaston, IL 60201 847-424-2000 E-mail: Web:

Nashville 615-242-0881 BIG MO RECORDS 2002 Gove Hill Rd. Thetford Ctr., VT 05075 802-785-4221 E-mail: Web:

BA DA BING! RECORDS 181 Clermont Ave., Ste. 403 Brooklyn, NY 11205 E-mail: Web: BAR-NONE RECORDS P.O. Box 1704 Hoboken, NJ 07030 201-770-9090 E-mail: Web: Distribution: ADA *Unsolicited material accepted BARSUK RECORDS P.O. Box 22546 Seattle, WA 98122 Web: Roster: Death Cab For Cutie, the Long

BIG NOISE 11 S. Angell St., Ste. 336 Providence, RI 02906 401-274-4770 E-mail: Web: Roster: Artists have included Christina Aguilera, Katharine McPhee, Red Hot Chili Peppers, Paul Doucette (Matchbox 20), Little Anthony & the Imperials, Jim Brickman, Jay Geils, Bela Fleck. *We are currently accepting demo submissions. Please call or e-mail first. BLACKBERRY RECORDS P.O. Box 16469

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Download This Directory From Our Website Jackson, MS 39236 601-206-4600 Fax 601-206-1777 E-mail: blackberry@blackberry Web: BLACK DAHLIA MUSIC P.O. Box 4940 Los Alamos, NM 87544 505-672-0333 E-mail: Web: BLACKHEART RECORDS 636 Broadway New York, NY 10012 212-353-9600 Fax 212-353-8300 E-mail: Web: Styles/Specialties: all styles *Unsolicited material accepted, attn: A&R Dept. BLIND PIG RECORDS P.O. Box 2344 San Francisco, CA 94126 415-550-6484 Fax 415-550-6485 E-mail: Web: Contact: Ed Chmelewski Styles/Specialties: blues, Americana, roots *No unsolicited materials BLOODSHOT RECORDS 3039 W. Irving Park Rd. Chicago, IL 60618 773-604-5300 E-mail: Web: BLUE CANOE RECORDS c/o Blue Canoe Digital, LLC 43 Rose Brooke Cir. White, GA 30184 E-mail: Web: BLUE SKUNK MUSIC 12400 Russet Ln. Huntley, IL 60142 847-275-8378 E-mail: Web: BOMP/ALIVE NATURALSOUND RECORDS P.O. 7112 Burbank, CA 91510 E-mail: Web:, Contact: Patrick Boissel Roster: the Black Keys, Two Gallants, Buffalo Killers, Brian Jonestown Massacre, Soledad Brothers, the Warlocks, the Black Lips, SSM, Brimstone Howl, Trainwreck Riders, Black Diamond Heavies, Bloody Hollies Distribution: Lumberjack Mordam Music Group *Unsolicited material accepted. We are a small team, but we listen to it all. Do not contact us, we will contact you if we dig what we hear. Thank you! BOOSWEET RECORDS P.O. Box 45256 Los Angeles, CA 90045 310-613-3535 Fax 909-877-9199 E-mail: Web: Contact: Pierre Neilly Styles/Specialties: jazz, jazz fusion, smooth jazz, R&B, pop, reggae, hip-hop, rap, rock, metal, guitar instrumental, alternative Roster: Miguel Mega, Kiko Loureiro, Vernon Neilly, Marcelo Roacio, Edu Ardanuy BRIDGE NINE RECORDS 119 Foster St., Bldg. 4 Ste. 3 Peabody, MA 01960 978-532-0666 E-mail: Web: BLACK ROSE PRODUCTIONS 409 Rte. 112 Port Jefferson Sta., NY 11776 631-509-0449 E-mail: Web: Contact: Roger Evans BURNSIDE RECORDS 20048 N.E. San Rafael St. Portland, OR 97203 1-800-288-2007 ext 2049 E-mail: Web: CANADIAN RECORDING SERVICES LTD. Vancouver, Canada

56 June 2013

604-985-0679, 866-888-6464 E-mail: mimi@canadianrecording Web: Styles/Specialties: all genres, offers FREE studio referral and project coordination services CANYON RECORDS 3131 W. Clarendon Ave. Phoenix, AZ 85017 800-268-1141 E-mail: Web: CASTLE RECORDS A Division of Tower Music Group (TM) 19 Music Sq. W., Ste.U-V Nashville, TN 37203 615-401-7111 Fax 615-942-5409 E-mail: Web: CELESTIAL HARMONIES Division of Mayflower Music Corp. 1951 N. Wilmot Rd. Tucson, AZ 85712 520-326-4400 Fax 520-326-3333 E-mail: Web: CENTURY MEDIA 2323 W. El Segundo Blvd. Hawthorne, CA 90250 323-418-1400 Fax 323-418-0118 E-mail: Web: *Unsolicited material accepted, see web for details. CEXTON RECORDS P.O. Box 80187 Rancho Santa Margarita, CA 92688 917-570-6664 Offices in CA and NYC E-mail: Web:, Contact: John Anello, Jr. Roster: Johnny Mandolin, Larry Luger, Chiz Harris w/ Conte Candoli, Doc Anello Trio, Tom Kubis Big Band, Jack Wood, Beach Front Property, Doc Anello & the Swing Machine Big Band, James L Dean Big Band, Reissues of Sinatra, Martin, Andante Duo Italian Music, Marie Anello Opera CD, Otaku in Crime Japanese Anime music Styles/Specialties: jazz, big band, swing and Italian-American artists Distribution: Indie, point of purchase, Internet, specialty stores CHICKEN COUP RECORDS P.O. Box 26850 Tempe, AZ 85285 480-491-6430 E-mail: Web: Styles/Specialties: jazz - B3 organ, blues Distribution: hard goods: Allegro Media Group (North America); digital: IODA CLEOPATRA RECORDS 11041 Santa Monica Blvd., PMB 703 Los Angeles, CA 90025 310-477-4000 Fax 310-312-5653 Web: Contact: Brian Perera, Tim Yasui Styles/Specialties: gothic, rock, metal, rap, R&B, dance, classics, soundtracks CLICKPOP RECORDS P.O. Box 5765 Bellingham, WA 98227 E-mail: Web: CONCORD RECORDS 100 N. Crescent Dr., Garden Level Beverly Hills, CA 90210 310-385-4455 E-mail: customerservice@concordrecords. com Web: Roster: Karrin Allyson, George Benson, Casey Abrams, Nat Adderley COURTHOUSE RECORDS P.O. Box 8462 Richmond, VA 23226 804-320-7067 E-mail: Web: CRACKNATION Lombard, IL 60657 E-mail: Web: CROSSROADS ENTERTAINMENT P.O. Box 829 Arden, NC 28704 828-684-3066 E-mail: Web: CURB RECORDS 48 Music Sq. E. Nashville, TN 37203 615-321-9532 Web: *No unsolicited material accepted DAEMON RECORDS P.O. Box 1207 Decatur, GA 30031 E-mail: Web: DANGERBIRD RECORDS 3801 Sunset Blvd. Los Angeles, CA 90039 E-mail: Web: Roster: Silversun Pickups, T. Hardy Morris, Sea Wolf, Broadheds DEAD TRUTH RECORDINGS 9238 N.W. 13th Pl. Coral Springs, FL 33071 954-247-4584 E-mail: Web: DECAYDANCE MUSIC E-mail: see website for demo submission Web: DEEP ELM RECORDS P.O. Box 792197 Paia, Hawaii 96779 E-mail: Web: Styles: Indie, Emo, Post-rock, Post-hardcore DEF RO INC 33 Prospect St., Ste. 1R Bloomfield, NJ 07003 973-200-8247 Web: E-mail: Contact: Ro Smith Styles: R&B, Hip-hop, pop Clients: Mary J. Blige, Fabollous Tre Songz, Akon Jaheim and MJB *submit your demos of at least 3 traces MAIL ONLY: Will Strickland A&R

D’MAR ENTERTAINMENT, INC. 7723 Tylers Place Blvd., Ste. 275 West Chester, OH 45069 513-617-2392 E-mail: Web: Contact: Sheila A. Jordan Styles/Specialities: smooth jazz, R&B, gospel *Accepts unsolicited material DOMO RECORDS 11340 W. Olympic Blvd., Ste. 270 Los Angeles, 90064 310-966-4414 E-mail: Web: Contact: Dino Malito Styles/Specialties: new age, world music, rock, soundtrack, ambient, electronic DRAG CITY RECORDS P. O. Box 476867 Chicago, IL 60647 312-455-1015 E-mail: Web: DSPB 237 Cagua N.E. Albuquerque, NM 87108 505-266-8274 E-mail: Web: DUALTONE RECORDS 203 N. 11th St. Ste. B Nashville, TN 37206 615-320-0620 Fax 615-320-0692 E-mail: Web: E1 MUSIC GROUP E-mail: Web: EARTH MUSIC PRODUCTIONS, LLC P.O. Box 72 Litchfield, CT 06759 860-567 8796, 800-437-2281 E-mail: Web: EARWIG MUSIC COMPANY, INC. 2054 W. Farwell Ave., Garden Unit Chicago, IL 60645-4963 773-262-0278 Fax 773-262-0285 E-mail: Web: EAST SIDE, INC. P.O. Box 7367 Minneapolis, MN 55407 612-375-0233 E-mail: Web: EKLECTRA PRESENTS RECORDS, INC. P.O. Box 609040 Orlando, FL 32860 321-948-6282 E-mail: Web: ELEVATOR MUSIC 1601 Penn Ave. Apt. 409e Pittsburgh, PA 15221 914-509-5870, 914-573-9452 E-mail: Web:

DEEP SOUTH RECORDS P.O. Box 17737 Raleigh, NC 27619 919-844-1515 Fax 919-847-5922 E-mail: Web:

ELEVEN THIRTY RECORDS 449-A Trollingwood Rd. Haw River, NC 27258 877-733-3931 E-mail: Web:

DELMARK RECORDS 4121 N. Rockwell Chicago, IL 60618 773-539-5001 Fax 773-539-5004 E-mail: Web:

EMPEROR JONES RECORDS P.O. Box 4730 Austin, TX 78765 E-mail: Web:

COAST RECORDS 2530 Atlantic Ave., Ste. C Long Beach, CA 90806 310-325-2800 E-mail: Web:; Contact: Paul Loggins Styles/Specialties: all styles

DELOS PRODUCTIONS P.O. BOX 343 Sonoma, CA 95476 800-364-0645, 707-996-3844 E-mail: Web: Styles/Specialties: classical

COMPASS RECORDS 916 19th Ave. S. Nashville, TN 37212 800-757-2277, 615-320-7672 Fax 615-320-7378 E-mail: Web:

DISCHORD RECORDS 3819 Beecher St. N.W. Washington, DC 20007 703-351-7507 E-mail: Web:

EPITAPH RECORDS 2798 Sunset Blvd. Los Angeles, CA 90026 213-413-7353 E-mail: Web: Styles/Specialties: alt-rock, punk Distribution: Indies *No unsolicited material

CMH RECORDS 2898 Rowena Ave., #201 Los Angeles, CA 90039 323-663-8073 E-mail: Web: Styles/Specialties: country, bluegrass, electric, children’s, Christmas

ESTRUS LLC P.O. Box 2125 Bellingham, WA 98227 E-mail: Web:

Download This Directory From Our Website EQUAL VISION RECORDS P.O. Box 38202 Albany, NY 12203-8202 518-458-8250 Fax 518-458-1312 E-mail: Web: Styles/Specialties: punk, hardcore, indie, emo, rock, pop, metal *Save some trees! Don’t mail physical demos. Instead please e-mail links to stream your music (no downloads), with a biography EVIDENCE MUSIC, INC. 1100 E. Hector St., Ste. 392 Conshohocken, PA 19428 610-832-0844 E-mail: Web: FAT POSSUM RECORDS P.O. Box 1923 Oxford, MS 38655 662-234-2828 Fax 662-234-2899 E-mail: Web: FAT WRECK CHORDS 2196 Palou Ave. San Francisco, CA 94124 E-mail: Web: Contact: Mark Tamo Styles/Specialties: punk *Unsolicited materials accepted FAVORED NATIONS ENTERTAINMENT 17328 Ventura Blvd. #165 Encino, CA 91316 818-385-1989 Web: Roster: See web Styles/Specialties: all styles are welcome (Label is co-owned by Steve Vai) FEARLESS RECORDS 13772 Goldenwest St. #545 Westminster, CA 9268 Web: E-mail: Distribution: RED FERRET MUSIC 1290 Ave of the Americas, 24th Fl. New York, NY 10104 Web: E-mail: Distribution: Roadrunner Records, RED *See web for submission guidelines FERVOR RECORDS 1810 W. Northern Ave., Ste. A-9 Box 186 Phoenix, AZ 85021 602-595-3582 E-mail: Web: FIELDCREST MUSIC P.O. Box 8462 Richmond, VA 23226 804-320-7067 E-mail: Web: FLOYD ENTERTAINMENT Floyd Records 1621 W. 25th St., PMB 115 San Pedro, CA 90732 310-505-3958 Contact: Floyd Bocox, CEO & President E-mail: Web: Styles: Country, pop, rock FOLK ERA RECORDS 705 S. Washington St. Naperville, IL 60540 1-800-232-7328 E-mail: Web: FONOVISA RECORDS Miami, FL 33166 Web: FOODCHAIN RECORDS 6464 Sunset Blvd. Ste. 920 Hollywood, CA 90028 323-957-7900 Fax 323-957-7911 Web: Note: Please submit demos by mail FREDDIE RECORDS 5979 S. Staples Corpus Christi, TX 78413 361-992-8411 Fax 361-992-8428 E-mail: Web:

FRONTIER RECORDS P.O. Box 22 Sun Valley, CA 91353 818-759-8279 E-mail: Web: Styles/Specialties: hardcore punk, OC punk, punk-pop, alternative rock Roster: Adolescents, Middle Class, Eddie & the Subtitles *Only reissuing vintage, punk material, no new artists. G2 RECORDS 14110 N. Dallas Pkwy., Ste. 365 Dallas, TX 75254 972-726-9203 Fax 972-726-7749 E-mail: Web: GEARHEAD RECORDS P. Box 2375 Elk Grove, CA 95759 916-897-2451 E-mail: Web: Contact: Michelle Haunold Styles/Specialties: rock & roll, outlaw country, punk, garage, rockabilly and sleaze metal. *We accept unsolicited material, but please don’t call or write bugging us, we’ll get in touch when we listen to it! GEORGE TOBIN MUSIC 102 N.E. 2nd St. Boca Raton, FL 33432 E-mail: Web: GET HIP, INC. 1800 Columbus Ave. Pittsburgh, PA 15233 412-231-4766 Fax 412-231-4777 E-mail: Web: GO GIRLS MUSIC P.O. Box 2628 Bellaire, TX 77402 E-mail: Web: Styles/Specialties: We are all genres for women in music. GO-KUSTOM REKORDS & FILM P.O. Box 77750 Seattle, WA 98177 E-mail: Web: GREEN LINNET 916 19th Ave. S. Nashville, TN 37212 615-320-7672 800-757-2277 E-mail: Web: HACIENDA RECORDS 1236 S. Staple Corpus Christi, TX 78404 361-882-7066 E-mail: Web: HEADS UP INTERNATIONAL 23412 Commerce Park Rd. Cleveland, OH 44122 216-765-7381 Fax 216-464-6037 E-mail: Web: HOLOGRAPHIC RECORDS Longworth Hall 700 West Pete Rose Way, Ste. 390 P.O. Box 18 Cincinnati, OH 45203 E-mail: Web: HOMESKILLET RECORDS Sitka, AK, Portland, OR Web: HOMESLICE MUSIC 5060 SW Philomath Blvd., #301 Corvallis, OR 97333 541-760-3009 E-mail: Web: Contact: Tony Styles/Specialties: pop/R&B/AC Roster: Debra Arlyn HONEY RECORDS 4929 Wilshire Blvd., Ste. 415 Los Angeles, CA 90010 323-854-1714 E-mail: Web: Styles/Specialties: rock, pop, punk HORROR HIGH 3120 W. Carefree Hwy., Ste. 1-339 Phoenix, AZ 85086 E-mail: Web: HOT TOMATO RECORDS DEEP SOUTH ENTERTAINMENT P.O. Box 17737 Raleigh, NC 27619 919-844-1515 E-mail: Web: HYDRAHEAD RECORDS P.O. Box 291430 Los Angeles, CA 90029 E-mail: Web: Roster: Oxbow, Jodis, Nihill, Pyramids with Nadja HYENA RECORDS 4658 Wortser Ave. Sherman Oaks, CA 91423 818-789-4483 E-mail: Contact: Bill Dern Styles/Specialties: jazz, roots, blues, Americana, reissues Distribution: E-1 *No Unsolicited Material IAMSOUND RECORDS P.O. Box 46460 Los Angeles, CA 90046 E-mail: Web: Roster: Bleeding Knees Club, Banks, The Black Ghosts, Charli XCX, Florence and the Machine, Fools Gold, IO Echo, Kate Boy, Little Boots, Lord Huron, Men, MS MR, Newvillager, Nikki Lane, Salem ICEHOUSE MUSIC 952 Echo Lane, Ste. 380 Houston, TX 77024 713-463-6931, Fax 713-463-6929 E-mail: Web: Distribution: Brick and Morter, Itunes IDOL RECORDS P.O. Box 140344 Dallas, TX 75214 E-mail: Web:

hip-hop, soul, World music *Unsolicited material accepted JAZZ LINK ENTERPRISES 3721 Columbia Dr. Longmont, CO 80503 303-776-1764 E-mail: Web: J CURVE RECORDS P.O. Box 43209 Cincinnati, OH 45243 513-272-8004 E-mail: Web: JONKEY ENTERPRISES 663 W. California Ave. Glendale, CA 91203 818-247-6219 1-800-259-6004 E-mail: Web: Contact: Chuck Jonkey Styles/Specialties: environmental, world, traditional, ethnic Distribution: Indies Roster: Chuck Jonkey, Carl Malone *No unsolicited material KALIMBA MUSIC, INC. 15260 Ventura Blvd. Ste. 1750 Sherman Oaks, CA 91403 818-528-7443 E-mail: Web: Styles/Specialties: adult contemporary jazz, smooth jazz, R&B Distribution: Online KEMADO RECORDS 87 Guernsey St. Brooklyn, NY 11222 E-mail: Web: Roster: The Sword KILL ROCK STARS 107 SE Washington St., Ste. 155 Portland, OR 97211 E-mail: Web: KOCH RECORDS See E1 Music Group

INDIESPACE RECORDINGS Santa Monica, CA 90409 310-399-4349 Fax 310-396-5489 Web: Styles/Specialties: all styles Distribution: hard copy and Internet *Unsolicited material accepted for licensing and music supervision. INDIANOLA RECORDS Web: Styles: hardcore, metal, rock Distribution: E1 Entertainment INTEGRITY LABEL GROUP 4050 Lee Vance View Colorado Springs, CO 1-888-888-4726 Contact: David C. Cook E-mail: Web: INVISIBLE RECORDS P.O. Box 16008 Chicago IL 60616 773-523-8316 E-mail: Web:

KOSMIC MUSIC E-mail: Web: K RECORDS P.O. Box 7154 Olympia, WA 98507 360-786-1594 E-mail: Web: Contact: Mariella Luz Roster: Kimya Dawson, The Curious Mystery, Joey Casio LAMON RECORDS CORPORATION 2550 Meridian Blvd. Ste. 200 Franklin, TN 37067 615-379-2121 ext. 101 Fax 615-379-2122 E-mail: Web: Additional locations: Hollywood, CA 310-494-0101 Charlotte, NC 704-282-9910

IPECAC RECORDINGS E-mail: Web: Contact: Greg Werckman Distribution: Fontana Roster: Fantomas, Melvins, Northern State, Dalek, Skeleton Key, Peeping Tom, Dub Trio IRONWORKS MUSIC Los Angeles, CA E-mail: Jenn.johnson@ Web: Contact: Jenn Johnson Styles/Specialties: a full facility entertainment company

LAZY BONES RECORDINGS 9594 First Ave. N.E., Ste. 449 Seattle, WA 98115 206-447-0712, Fax 425-821-5720 E-mail: Web: Additional locations: Los Angeles 310-281-6232 Sydney, Australia Ste. 59, 78 William St. Sydney, NSW 2011 +61.2.8005.1236

JAGGO RECORDS 10061 Riverside Dr., Ste. 718 Toluca Lake, CA 91602 323-850-1819 E-mail: Web: Styles/Specialties: pop, rock, jazz, R&B,

New Plymouth, New Zealand P.O. Box 3361 New Plymouth, NZ 4341 +64.21.458.939 LAZY S.O.B. RECORDINGS P.O. Box 4084 Austin, TX 78765

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Download This Directory From Our Website 512-480-0765 Fax 512-499-0207 E-mail: Web: LEG (Loggins Entertainment Group) 5018 Franklin Pike Nashville, TN 37220 310-325-9997 E-mail: Web: LEVIATHAN RECORDS P.O. Box 745 Tyrone, GA 30290 770-257-8697 E-mail: Web: LITTLE FISH RECORDS P.O. Box 19164 Cleveland, OH 44119 216-481-1634 E-mail: Web: LOVECAT MUSIC P.O. Box 548, Ansonia Sta. New York, NY 10023 646-304-7391 E-mail: Web: LOVEPUMP UNITED RECORDS 61 Greenpoint Ave., #508 Brooklyn, NY 11222 347-469-0627 E-mail: Web: Distribution: Secretly Canadian Distro LUAKA BOP 195 Chrystie, Ste. 901F New York, NY 10002 212-624-1469 E-mail: Web: Styles/Specialties: pop, world *No unsolicited materials. MAGGIE’S MUSIC P.O. Box 490 Shady Side, MD 20764 410-867-0642 Fax 410-867-0265 E-mail: Web: MAGNA CARTA RECORDS A-1 Country Club Rd. East Rochester, NY 14445 585-381-5224 E-mail: Web: Styles/Specialties: progressive metal *submit physical promo materials to above address Demo Submissions see website for details MAJOR MONEY ENTERTAINMENT Dallas, TX 214-282-8933 E-mail: Web: MALACO MUSIC GROUP, THE P.O. Box 9287 Jackson, MS 39286 601-982-4522 Fax 601-982-4528 E-mail: Web: MAMA RECORDS P.O. Box 26850 Tempe, AZ 85285 1-800-543-5156 E-mail: Web: Styles/Specialties: jazz - big band, contemporary Distribution: hard goods: Allegro Media Group (North America); digital: IODA MANIFESTO RECORDS 8340 Melrose Ave. Los Angeles, CA 90069-5420 323-655-2780 Fax 323-655-3333 E-mail: Web: Contact: Evan Cohen (Business Affairs) Styles/Specialties: rock, indie, Brit-pop, punk Roster: Dead Kennedys, Wedding Present,Tom Waits, Tim Buckley, Lilys Distribution: MVD *No unsolicited material MARSALIS MUSIC 323 Broadway Cambridge, MA 02139 617-354-2736 Web: Distribution: Red Eye

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MATADOR RECORDS 304 Hudson St., 7th Fl. New York, NY 10013 212-995-5882 Fax 212-995-5883 Web: Styles/Specialties: all styles *Unsolicited material accepted MAXJAZZ 115 W. Lockwood Ave. St. Louis, MO 63119 800-875-8331 E-mail: Web: MEEK RECORDS 7900 S. Prairie Ave. Chicago, IL 60619 773-783-0038 Web: MEGA TRUTH RECORDS P.O. Box 4988 Culver City, CA 90231 Contact: Jon Bare E-mail: Web: Styles/Specialties: blues and rock MENLO PARK RECORDINGS 16 W. 16th St., #6RN New York, NY 10011 E-mail: menlopark@ Web: Roster: Deerhoof, Japanther MERGE RECORDS Chapel Hill, NC E-mail: Web: METAL BLADE RECORDS 5737 Kanan Rd. #143 Agoura Hills, CA 91301 E-mail: Web: Styles/Specialties: heavy metal, progressive, rock *Unsolicited material accepted Additional location: Metal Blade Records GMGH Marstallstrasse 14 73033 Goppingen, Germany METER RECORDS 106, 7620 Elbow Dr. S.W. Calgary, Canada AB T2V 1K2 E-mail: Web: METROPOLIS RECORDS P.O. Box 974 Media, PA 19063 610-595-9940 E-mail: Web: MILAN ENTERTAINMENT Burbank, CA 91505 E-mail: Web: Styles/Specialties: soundtracks, electronic, world MINT RECORDS P.O. Box 3613, M.P.O. Vancouver, BC, Canada, V6B 3Y6 604-669-MINT E-mail: Web: Roster: Hot Panda, Immaculate Machine, Carolyn Mark, Fanshaw, Kellarissa, Maow, John Guliak, The Mr. T Experience MORPHIUS RECORDS 100 E. 23rd St. Baltimore, MD 21218 410-662-0112 E-mail: Web: MOTORIZED MUSIC GROUP P.O. Box 3154 Glendale, CA 91221 818-548-7989 E-mail: Web: Contact: Randy Nicklaus, Laure Dunham MOUNTAIN APPLE COMPANY, THE 1330 Ala Moana Blvd., Ste. 001 Honolulu, HI 96814 808-597-1888 Fax 808-597-1151 Web: Styles/Specialties: traditional & contemporary Hawaiian MOUNTAIN HOME RECORDS P.O. Box 829 Arden, NC 28704 800-966-7664 Fax 828-684-4495 E-mail: Web: Styles/Specialties: bluegrass *No unsolicited material MRG RECORDINGS 310-629-9782 E-mail: Web: Contact: A&R Styles/Specialties: rock, electronic, ambient, folk NASHVILLE UNDERGROUND P.O. Box 218138 Nashville, TN 37221 615-673-7215 E-mail: Web: N. E. H. RECORDS 7915 Oxford Rd. Niwot, CO 80503 303-652-0199 E-mail: Web: NEW PANTS PUBLISHING INC. & OLD PANTS PUBLISHING INC. 102 E. Pikes Peak Ave., Ste. 200 Colorado Springs, CO 80903 719-632-0227 Fax 719-634-2274 E-mail: Web:, Contact: Robert A. Case Styles/Specialties: pop, rock, rap, R&B, country Roster: Stephanie Aramburo, Chad Steele, C. Lee Clarke, Tech T, James Becker, Kathy Watson, Lisa Bigwood, George Montalbano, Silence, Sherwin Greenwood, Joel Diehl, John Ellis and Phyllis Shaw. *Unsolicited material through management or lawyer only. Please call or e-mail before submitting. NEW WEST RECORDS 9215 Olympic Blvd. Los Angeles, CA 90212 E-mail: Web: Roster: see web NITRO RECORDS 7071 Warner Ave., Ste. F736 Huntington Beach, CA 92647 E-mail: Web: Styles/Specialties: punk/pop Roster: see web NO ALTERNATIVE RECORDS 729 S. 2nd St. Mankato, MN 56001 507-344-8985 E-mail: Web: Additional location: Minneapolis Office 3148 Bryant Ave. S. Minneapolis, MN 55408 612-375-1113 NONESUCH RECORDS 1290 Ave. of the Americas, 23rd Fl. New York, NY 10104 212-707-2900 Fax 212-707-3207 E-mail: Web: Roster: Emmylou Harris, Joni Mitchell, Gipsy Kings, kd lang, Randy Newman, Wilco, Brian Wilson, Stephen Sondheim, Kronos Quartet, Youssou N’Dour, Buena Vista Social Club, Laurie Anderson and more. ODDS ON RECORDS LLC 14 Sunset Way Henderson, NV 89014 702-318-6001 E-mail: Web: Contact: Ted Joseph / Bobby Ferrari Specialties: pop / rock No unsolicited material please OGLIO RECORDS P.O. Box 404 Redondo Beach, CA 90277 310-791-8600 Fax 310-791-8670 E-mail: Web: Contact: Carl Caprioglio, Mark Copeland Roster: George Lopez , the Sparks, Jackie the Jokeman Martling, reissues, novelty, soundtracks, Beatallica

OH BOY RECORDS 33 Music Sq. W., Ste. 102B Nashville, TN 37203 800-521-2112 E-mail: Web: *no unsolicited material accepted ORIGINAL SOUND GROUP 7120 W. Sunset Blvd. Los Angeles, CA 90046 323-851-2500 Fax 323-851-8162 Styles/Specialties: oldies, Latin, rock, rap, soul Distribution: self-distributed *No unsolicited material PAPER GARDEN RECORDS 10 Emerson Place, 3rd Floor Brooklyn, NY 11205 E-mail: Contact: Bryan Vaughn Web: Roster: Alcoholic Faith Mission, Darla Framer, Mighty Tiger, Pree PARMA RECORDINGS 223 Lafayette Rd. North Hampton, NH 03842 603-758-1718 E-mail: Web: PETROGLYPH RECORDS 209 Los Pandos #5A Taos, NM 87571 575-776-8819 E-mail: Web: PHIRE MUSIC 1912 Point Breeze Ave. Philadelphia, PA 19145 267-519-3710 E-mail: Web: Media Contact: Jamie Burrell Other Contact: Brian McDaniel Styles/Specialties: artist development/ marketing & promotion, hip-hop, R&B, production Roster: Blackanese, StrictBizz Distribution: Independent PINCH HIT ENTERTAINMENT 901 Hermosa Ave., Ste. F Hermosa Beach, CA 90254 Web: Contact: Mike Naylor Styles/Specialties: all styles POSI-TONE P.O. Box 2848 Venice, CA 90294 310-871-2652 E-mail: Web: Styles/Specialties: jazz Roster: Orrin Evans, Jim Rotondi, Ralph Bowen, Sam Yahel, Jared Gold, David Gibson, Ehud Asherie, Doug Webb PPL ENTERTAINMENT GROUP, INC. 468 N. Camden Dr., Ste. 200 Beverly Hills, CA 90210 Mailing Address: P.O. Box 261488 Encino, CA 91426 310-860-7499, 818-506-8533 E-mail: Web: Contact: Maxx Diamond *No unsolicited material accepted. Must first e-mail or write with SASE for permission. PRA RECORDS 1255 Fifth Ave., Ste. 7K New York, NY 10029 212-860-3233 E-mail: Web: Contact: Patrick Rains Styles/Specialties: jazz Distribution: Ryko PRAVDA RECORDS P.O. Box 268043 Chicago, IL 60626 773-763-7509 Fax 773-763-3252 E-mail: Web: PRIMARILY A CAPPELLA P.O. Box D San Anselmo, CA 94979 1-800-SING-181 (746-4181) Fax 415-458-2961 E-mail: Web: Styles/Specialties: a cappella *Unsolicited material accepted

Download This Directory From Our Website RAMP RECORDS Santa Barbara, CA E-mail: Web: Styles/Specialties: Eclectic Roster: Michael McDonald, Jeff Bridges *No unsolicited material RAP-A-LOT RECORDS P.O. Box 924190 Houston, TX 77292 800-861-7272 E-mail: Web: RAZOR & TIE ENTERTAINMENT 214 Sullivan St., 4th Fl. New York, NY 10012 212-598-2229 E-mail: Web: Roster: see website REBEL WALTZ / TIME BOMB RECORDINGS 31652 2nd Ave. Laguna Beach, CA 92651 949-499-4497 E-mail: Web: Styles/Specialties: punk, alt. rock *No unsolicited material RED HOUSE RECORDS P.O. Box 4044 St. Paul, MN 55104 651-644-4161 E-mail: customerservice@redhouserecords. com Web: RELAPSE RECORDS P.O. Box 2060 Upper Darby, PA 19082 USA 610-734-1000 Fax 610-734-3717 E-mail: Web: Roster: High on Fire, Jucifer, Origin, Brutal Truth REMBA RECORDS P.O. Box 611 Montrose, CA 91021 818-244-5661 E-mail: Web: Contact: Jennifer Russell, Michael Gayle Styles/Specialties: all styles REVELATION RECORDS P.O. Box 5232 Huntington Beach, CA 92615 714-842-7584 E-mail: Web: Styles/Specialties: hardcore, punk, emo and metal Roster: See website *Unsolicited material accepted RHYMESAYERS ENTERTAINMENT Minneapolis, MN 55405 E-mail: Web: ROADRUNNER RECORDS 1290 Avenue of the Americas, 28th Fl New York, NY 10104 212-274-7500 Fax 212-505-7469 E-mail: Web: Styles/Specialties: rock *Unsolicited materials accepted, see web for details. ROCKZION RECORDS 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 E-mail: Web: Styles/Specialties: Christian and crossover rock and film music ROIR (say ROAR!) (Reachout International Records) P.O. Box 150-460 Van Brunt Station Brooklyn, NY 11215 718-852-7647 E-mail: Web: Styles/Specialties: punk, reggae, rock *Unsolicited material accepted, but look at our website so you know who we are. ROTTEN RECORDS P.O. Box 56 Upland, CA 91785 909-920-4567

E-mail: Web: Styles/Specialties: rock, punk, heavy metal *Unsolicited material accepted. No phone calls please. ROUNDER RECORDS One Rounder Way Burlington, MA 01803 617-354-0700 E-mail: Web: RRO ENTERTAINMENT P.O. Box 4263 Parker, CO 80134 E-mail: Web: SHANGRI-LA PROJECTS P.O. Box 40106 Memphis, TN 38174 901-359-3102 E-mail: Web: SHUT EYE RECORDS & AGENCY 483 Moreland Ave. Atlanta, GA 30307 678-986-5110 E-mail: Web: SIX DEGREES RECORDS P.O. Box 411347 San Francisco, CA 94141 415-626-6334 Fax 415-626-6167 E-mail: Web: Roster: See web Distribution: Fontana SONIC IMAGES ENTERTAINMENT GROUP 12400 Ventura Blvd., #268 Studio City, CA 91604 323-650-4000 Fax 323-650-4028 E-mail: sonicimagesrecords@ Web: SONIC PAST MUSIC, LLC 3157 Oakcrest Drive Los Angeles, CA 90068 E-mail: Web: Specialties: Label specializes in unreleased material by famous artists as well as cult based musicians of the ‘60s through the ‘90s. Huey Lewis, Rick Springfield, Delaney Bramlett, Richie Sambora, Randy Meisner. We also feature many of the best soft pop/ sunshine pop artists of the ‘60s, artists like the Millennium, Curt Boettcher, Gary Usher, Sandy Salisbury, Les Emerson, Jackdawg SUB POP 2013 Fourth Ave., 3rd. Fl. Seattle, WA 98121 206-441-8441 Fax 206-441-8245 E-mail: Web: Styles/Specialties: rock, alt. rock *No unsolicited material

SYMPATHY FOR THE RECORD INDUSTRY 120 State Ave., N.E. 134 Olympia, WA 98501 E-mail: Web:

SUMMIT RECORDS, INC. P.O. Box 26850 Tempe, AZ 85285 480-491-6430, 800-543-5156 E-mail: Web: Styles/Specialties: jazz, classical, brass, winds, educational, kids SUPREME ENTERPRISES INTERNATIONAL CORP. P.O. Box 1373 Agoura Hills, CA 91376 818-707-3481 E-mail: Web: Contact: J. Sarmiento Styles/Specialties: trance, Latin, reggae *No phone calls, please SURFDOG RECORDS 1126 South Coast Highway 101 Encinitas, CA 92024 760-944-8000 Fax 760-944-7808 E-mail: Web: Contact: Anita Strine Roster: Brian Setzer, Stray Cats, Richard Cheese, Gary Hoey, Rusty Anderson, Slightly Stoopid, Dan Hicks, Butthole Surfers, Gibby Haynes, Dylan Donkin, the Wylde Bunch *Unsolicited material accepted SYMBIOTIC RECORDS P.O. Box 88456 Los Angeles, CA 90009 424-245-0416 E-mail: Web: Contact: Eric Knight Syles/Specialties: All Roster: Ignacio Val, Eric Knight Services: Record Label *Accepts unsolicited material email links only - no phone calls

TANGENT RECORDS P.O. Box 383 Reynoldsburg, OH 43068 614-751-1962 Fax 614-751-6414 E-mail: Web: Contact: Andrew J. Batchelor, President Styles/Specialties: contemporary instrumental, rock instrumental, electronic, jazz-rock, world beat Distribution: self-distributed *Unsolicited material accepted THIN MAN ENTERTAINMENT P.O. Box 322 Torrance, CA 90507 310-320-8822 E-mail: Web: Contact: Jeremy Meza Styles/Specialties: alternative rock, darkwave, deathrock, gothic, industrial, jazz, junk, punk, and psychobilly THIRD MAN RECORDS 623 7th Ave. S. Nashville, TN 37203 615-891-4393 Web: THUMP RECORDS P.O.Box 9605 Brea, CA 92822 909-595-2144 E-mail: info@thumprecords.c om Web: Contact: Bill Walker, CEO Styles/Specialties: Latin rap, old skool, rap, R&B, Latin, oldies, disco Distribution: UNI TREASURE ISLE RECORDERS, INC. 2808 Azalea Pl. Nashville, TN 37204 615-297-0700 E-mail:

SOUND KITCHEN STUDIOS, LLC 112 Seaboard Ln. Franklin, TN 37067 615-579-4655 E-mail: Contact: Ira Blonder Web: Specialities: All Genres *Unsolicited material accepted SPARROW RECORDS (EMI CMG Label Group) P.O. Box 5010 Brentwood, TN 37024-5010 615-371-6800 Web: Styles/Specialties: Christian *No unsolicited materials SST 406 Talbot St. Taylor, TX 76574 512-352-8165 Fax 512-352-8178 E-mail: Web: Styles/Specialties: rock, jazz, punk, progressive rock *Unsolicited material accepted STANLEY RECORDINGS 2126 W. Temple St. Los Angeles, CA 90026 213-483-0778 E-mail: Web: STREETBEAT RECORDS/PANDISC MUSIC CORP. 247 S.W. 8th St., Ste. 349 Miami, FL 33130 305-557-1914 Fax 888-493-7778 E-mail: Web: *Unsolicited material accepted

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Download This Directory From Our Website TRICOPOLIS RECORDS 33261 Adelfa St. Lake Elsinore, CA 92530 951-678-0831, 951-757-5055 E-mail: Web: Contact: Mike Nadolson Styles/Specialties: bluegrass, folk, acoustic Roster: See web *No unsolicited material TRIPLE X RECORDS P.O. Box 862529 Los Angeles, CA 90086-2529 323-221-2204 Fax 323-221-2778 Contact: Peter Huer Styles/Specialties: alt. rock, reissues, goth, rap Distribution: Navarre *Call before sending material URBAND & LAZAR 1617 Cosmo St., Ste. 411 Los Angeles, CA 90028 E-mail: Web: Styles/Specialities: indie rock, alternative, singer-songwriter *Accepts unsolicited material VAGRANT RECORDS 5566 W. Washington Blvd. Los Angeles, CA 90016 323-302-0100 E-mail: Web: VAN RICHTER RECORDS 2145 East Tahquitz Canyon Way 4-219 Palm Springs, CA 92262 858-412-4329 E-mail: Web: Styles/Specialties: industrial, gothic, metal *Accepts unsolicited material VAPOR RECORDS 1460 4th St. #300 Santa Monica, CA 90401 E-mail: Web: VICE RECORDS 97 N. 10th St., Ste. 202 Brooklyn, NY 11211 E-mail: Web: VICTORY RECORDS 346 N. Justine St., Ste. 504 Chicago, IL 60607 312-666-8661 Fax 312-666-8665 E-mail: Web: VOLCOM ENTERTAINMENT 1740 Monrovia Ave. Costa Mesa, CA 92627 949-646-2175 E-mail: Web: Roster: TweakBird, Totimoshi, Riverboat Gamblers, Valient Thorr WICKED COOL RECORDS 434 6th Ave. New York, NY Fax 212-868-9003 E-mail: Web:

60 June 2013

XL RECORDINGS 304 Hudson St., 7th Fl. New York, 10013 E-mail: Web: Roster: MIA, Friendly Fires, Ratatat, Vampire Weekend, Peaches, The White Stripes YEP ROC RECORDS 449-A Trollingwood Rd. Haw River, NC 27258 877-733-3931 E-mail: Web:


1 SEO EXPERTS Los Angeles, CA 888-736-1489 Web: Contact: Kelly Guy Services: Providing cutting edge media and marketing

2 SHEPS THAT PASS 401 Broadway, Ste. 804 New York, NY 10013 646-613-1101 E-mail:, vera@ Web: 360 MEDIA P.O. Box 725188 Atlanta, GA 31139 404-577-8686 Fax 404-577-8644 E-mail: Web: 919 MARKETING COMPANY 102 Avent Ferry Rd. Holly Springs, NC 27540 919-557-7890 Fax 919-557-0041 E-mail: Web: A1 INDIEPOWER 11054 Ventura Blvd., #333 Studio City, CA 91604 818-505-1836 E-mail: Web: Contact: Jay Warsinske CEO (40+ year veteran) Styles/Specialties: All styles, worldwide, maximum PR, promotion, marketing, & major distribution services by top pros ABC PROMOTIONAL MARKETING 20531 Rhode St. Woodland Hills, CA 91367 818-999-2226 Fax 818-999-2236 E-mail: Web: AIM MARKETING SOLUTIONS 530 Means St., N.W., Ste. G10 Atlanta, GA 30318 404-581-7131 Fax 404-588-9244 Contact: Kristi Atkins, CEO Web: Styles/Specialties: sports and entertainment marketing A.D.D. MARKETING & ADVERTISING 6600 Lexington Ave. Los Angeles, CA 90038 323-790-0500 Fax 323-790-0240 E-mail: Web: Styles/Specialties: rock, hip-hop, electronic *No unsolicited material **No phone calls please AFFORDABLE IMAGE 2515 N. 7th St. Phoenix, AZ 85006 866-961-4412, 602-265-2299 E-mail: Web: AIRPLAY ACCESS 310-325-9997 E-mail: Web: Contact: Paul Loggins Styles/Specialties: all styles ANDERSON MARKETING 3260 Ramos Circle Sacramento, CA 95827 916-361-3682 E-mail: Web: ARIEL PUBLICITY, CYBER PROMOTIONS, ROCKGIRL MARKETING 389 12th St. Brooklyn, NY 11215 212-239-8384 E-mail: Web: ARISTOMEDIA 1620 16th Ave. S. Nashville, TN 37212 615-269-7071 Fax 888-894-4934 E-mail: Web: ARTISTS HOUSE MUSIC Web: AUTHENTIK ARTISTS 4310 West Kling St. Burbank, CA 91505 714-321-1371 E-mail: Web: AWARD WINNERS 8939 Reseda Blvd. Northridge, CA 91324 818-349-3932 1-888-95award E-mail: Web: Contact: Jacque Styles/Specialties: gold records, specialties, t-shirts and tour jackets BIG 10 INDUSTRIES, INC. ROCK CITY MERCH 149 S. Barrington Ave. Ste. 812 Los Angeles, CA 90049 310-280-1610 E-mail: Web: BLACK DOG PROMOTIONS 9920 S. Rural Rd., Ste. 108 Tempe, AZ 85284 480-206-3435 Fax 480-753-7021 E-mail: Web: BRYAN FARRISH PROMOTION 1828 Broadway, 2nd Fl. Santa Monica, CA 90404 310-998-8305 E-mail: Web: Styles/Specialties: In-house and field staff to handle regular rotation on every commercial

station in the U.S. and Canada, generating up to 3,000,000 listens per week on a single station in a single city. Also, college radio, specialty/mixshow radio, and www.gigchart. net for gigs in CA. CORNERSTONE 830 Traction Ave. #3F Los Angeles, CA 90013 213-217-4500 E-mail:, Web: Contact: Rob Stone and Jon Cohen Additional locations: New York 71 W 23rd St. Fl 13 New York, NY 10010 212-741-7100 London +44-208-962-1440 CREATIVE BRAND CONSULTING 1429 N. 1st St., Ste. 100 Phoenix, AZ 85004 (o) 888-567-0522, (c) 602-339-5755 E-mail: Web: DAISY GAMBIT MUSIC SERVICES E-mail: Web: Contact: Daisy Gambit Styles/Specialties: All styles, worldwide, PR, promotion, radio, performance bookings, TV, website design, label submissions, management & distribution. No unsolicited mail/packages. E-mail is fine only for initial contact. DAN DEL CAMPOS Media / Consultant Pop Culture Image 2554 Lincoln Blvd. #731 Venice, CA 90291 310-314-2790 E-mail: Web: DISTINCTIVE PROMO P.O. Box 95 Hewlett, NY 11557 516-792-1498 E-mail: Web: EVOLUTION PROMOTION 7 Arlene Ave. Wilmington, MA 01887 978-658-3357 E-mail: Web: Contact: Karen Lee EVOLVOR MEDIA 58 E. Main St. Newark, DE 19711 302-897-8364 Web: FANSCAPE 360 N. La Cienega Blvd. 3rd Fl. Los Angeles, CA 90048 323-851-3267 Fax 323-785-7101 E-mail: Web: Other locations: 1999 Bryan St., Ste. 1800 Dallas, TX 75201

Download This Directory From Our Website 711 Third Ave., 11th Fl. New York, NY 10017 FILTER CREATIVE GROUP 350 E. 30th #6a New York, NY 10016 646-202-1683 Fax 646-290-7082 E-mail: Web: Additional location: 5908 Barton Ave. Los Angeles, CA 90038 323-464-4170 Fax 323-464-4294 FLANAGAN’S RADIO PROMOTIONS 323-876-7027 E-mail: Web: Contact: Jon Flanagan, Taylor W., Tom S. Styles/Specialties: AAA, rock, AC, consult before pressing CD, building a band’s buzz!

Anchorage, AK 99503 907-562-8640 Fax 907-562-8641 E-mail: Web: Contact: Steve Gonzalez GREG STEFFEN National Music Marketing Services P.O. Box 8446 Berkeley, CA 94707 510-527-1861 E-mail: gregsteffen@nationalmusic Web: HANDS ON PR & MARKETING 310-341-3201 E-mail: Web: hands_on_pr_marketing/index.html Contact: Craig Melone Styles/Specialties: all styles/indie labels are our forte

FUTURE STAR MUSIC GROUP Los Angeles and Miami E-mail: Web: Services: We are a full service music company: Management, record label, music publishing, marketing & promotions, DJ coalition, consulting and marketing.

HOWARD ROSEN PROMOTION 1129 Maricopa Highway, Ste. #238, Ojai, CA 93023 805-382-2200 E-mail: Web: Contact: Howard Rosen Styles/Specialties: CHR/Top 40, AC, Hot AC, AAA, alternative specialty, mainstream rock, modern AC, college

G5 MUSIC MEDIA Miami, FL 305-917-5145 E-mail: Web: Contact: Joe Wiggins

IFANZ.COM (McCartney Multimedia, Inc.) 322 Culver Blvd., Ste. 124 Playa Del Rey, CA 90293 E-mail: Web:

GAIL ROBERTS P.R. & INTERNET MARKETING 10061 Riverside Dr., Ste. 1400 Burbank, CA 91602 310-734-8193 E-mail: Web: Contact: Gail Roberts Styles/Specialties: longstanding music PR firm with marketing and online promotion, internet publicity, social networking. Firm also handles marketing and media for painters, authors, corporations and ecological projects.

IMAGINE PR Washington, DC 202-713-0735 Web:

GARY GROUP, THE 2040 Broadway Santa Monica, CA 90404 310-264-1700 Fax 310-264-9744 E-mail: Web: Contact: Dick Gary, President Styles/Specialties: all styles *No unsolicited material GIANT STEP 62 White St., Ste. 3R New York, NY 10013 212-219-3567 E-mail: Web: GIRLIE ACTION MEDIA & MARKETING, INC. 243 W. 30th St., 12th fl. New York, NY 10001 212-989-2222 E-mail: Web: GONZALEZ MARKETING 4450 Cordova St., Ste. 110

INK TANK PR 6325 Santa Monica Blvd. Ste 100 Los Angeles, CA 90038 213-484-4488 Web: J&H PROMOTIONS 1020 Christopher Ln. Ashland City, TN 37015 615-792-3502 E-mail: Web: Contact: Mary Christopher, President Styles/Specialties: Award-winning promotions, brand management, ad agency, radio promotions, press/PR, representing all genres, from indie to major label. Clients: ABC Radio Networks, Dreamworks Records, Harrah’s Casino, MCA Records, Jones & Thomas Advertising Agency, Naxos Music, Stringtown Records, Town of Los Altos Hills, Tennessee Trial Lawyers Association, Polk County Utilities, 3rd Battalion 3rd Marines, Main Street Bank & Trust and Virgin Records. JJ ENTERTAINMENT 323-653-5438 E-mail: Web: Contact: Jodi Jackson Styles: All JAMALAMA 4757 E Greenway Rd., Ste. 107b PMB180 Phoenix, AZ 85032 Additional location:

800-884-4553 E-mail: Web: Contact: Ian Faith, CEO Styles: ALL “Now You Can Play With The Band”

3370 Sugarloaf Pkwy., Ste. G2-305 Lawrenceville, GA 30044 678-638-2611

JEROME PROMOTIONS AND MARKETING, INC. 5300 Peachtree Rd. Atlanta, GA 30341-2434 770-982-7055 Web: E-mail: Contact: Bill Jerome, Pres., Laura Hollister, Sr. Talent Coordinator Web: Services: Independent radio promotion JON KONJOYAN PROMOTION 4464 Moorpark Way, Ste. 104 Toluca Lake, CA 91602 818-980-9217 E-mail: Web: Contact: Jon Konjoyan Styles/Specialties: AC and Hot AC *Unsolicited material accepted KAREN MORSTAD & ASSOCIATES 79 E. Putnam Ave. Greenwich, CT 06830 203-661-1090 Fax 203-661-1091 E-mail: Web: KBH ENTERTAINMENT GROUP Van Nuys, CA 91405 818-786-5994 Web: E-mail: Contact: Brent Harvey Styles/Specialties: consulting, artist management, event production, music licensing & placement, publicity, talent buying & booking. LARRY WEIR National Record Promotion 137 N. Larchmont Blvd. S-#500 Los Angeles, CA 90004 323-658-7449 Web: E-mail: Specialties: Need radio airplay? Multi-format radio promotion LOGGINS PROMOTION 2530 Atlantic Ave., Ste. C Long Beach, CA 90806 310-325-2800 E-mail: Web: Contact: Paul Loggins Styles/Specialties: all styles LOTOS NILE MARKETING P.O. Box 90245 Nashville, TN 37209 615-298-1144 E-mail: Web:

700 St. Mary’s St., Ste. 420 San Antonio, TX 78205 210-223-0616 E-mail: LUCK MEDIA & MARKETING, INC. 8581 Santa Monica Blvd, #426 W. Hollywood, CA 90069 818-232-4175 E-mail: Web: Contact: Steve Levesque THE MB AGENCY Getting you the exposure you deserve 817-239-7407 E-mail: Facebook: Contact: Jeff Brannon Styles/Specialties: All styles, advertising & management MELODY MAKER PRODUCTIONS 453 S. Spring St., Ste. 937 Los Angeles, CA 90013-2089 310-266-9506 Contact: David Gielan E-mail: Web: Services: Logo creation, press kit design, album cover art, promo materials (stickers, flyers, etc.) audio post production, composition for TV/films/games, songwriting arrangement, record production, engineering, mixing, mastering, prepping, albums for duplication/replication, vocal coaching, vocal production, career consultation MIA MIND MUSIC 254 Sixth St., Ste. #2 Hoboken, NJ 07030 201-656-5458, Fax 201-216-1186 E-mail: Web:, www. MILES HIGH PRODUCTIONS P.O. Box 93157 Hollywood, CA 90093 323-806-0400 Fax 818-845-4805 E-mail: Web: Contact: Chip Schutzman Styles/Specialties: Social Marketing and digital press company catering to both indie and established artists. Styles/Specialties: We specialize in rock, pop, dance, jazz, blues, country/roots, soul/ urban and new age. Established in 2002. MIXED MEDIA E-mail: Web: MOTION CITY RECORDS 1424 4th St., #604 Santa Monica, CA 90401 310-434-1272 E-mail: Web: Styles/Specialties: alternative rock Roster: Velvet, Voodoo, Brent Fraser, 10 Pound Troy, UFO Bro, Drag, Wendy Bucklew

LUCKIE & COMPANY 600 Luckie Dr., Ste. 150 Birmingham, AL 35223 Music Connection Ad Proof 205-879-2121 Web:Rep: EB Ad E-mail: AGENCY cotterell 8th-horiz #10-2010 NERLAND Code: Web: 808 “E” St.

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Download This Directory From Our Website Anchorage, AK 99501 907-274-9553 Fax 907-274-9990 E-mail: Web: NEW MUSIC WEEKLY 137 N. Larchmont Ave., Ste. 500 Los Angeles, CA 90004 310-325-9997 Fax 310-427-7333 E-mail: Web: Contact: Paul Loggins, Larry Weir, Chuck Dauphin, John Loggins, Jon Hudson, Masika Swain, Debi Fee Styles/Specialties: all styles *National music magazine specializing in radio airplay charts, artist spotlights/ interviews and entertainment based editorials Additional location: 5018 Franklin Pike Nashville, TN 37220 615-323-2200 NO PROBLEM! MARKETING Ed Bunker 24303 Woolsey Canyon Rd. Space 126 West Hills, CA 91304 818-564-7684 E-mail: Web: www.noproblemmarketingcom NOCTURNAL MOVEMENTS P.O. 6043 Ottawa, Ontario, Canada K2A 1T1 613-596-4996, 613-266-2488 Vancouver, WA 98668 E-mail: Web: NOT EVIL MUSIC Virontörmänkatu 15 D 20 33310 Tampere, Finland +358 40 772 6551 Web: PACIFIC MARKETING LLC 2745 19th Street, S.E. Salem, OR 97302 888-677-7658, 503-362-4020 Fax 503-362-8227 E-mail: Web: PEARCE CREATIVE SERVICES P.O. Box 892 Stinson Beach, CA 94970 415-706-3800 E-mail: Web: Contact: Drew Pearce PEOPLE’S REVOLUTION, INC. New York & L.A. 212-274-0400, 323-651-3500 E-mail:, Web: Styles/Specialties: Fashion and lifestyle pr, marketing and events. This includes fashion show planning and production PERMANENT PRESS RADIO PROMOTION P.O. Box 26622 Rochester, NY 14626 585-764-0150 E-mail: Web: Contact: Ray Paul Styles/Specialties: AAA Radio (commercial & non-commercial), college/alternative and specialty shows. Industry consulting services in label set-up and distribution. PFA MEDIA 285 Broadway Ste. 630 New York, NY 10013 212-334-6116 Web: PINCH HIT ENTERTAINMENT 901 Hermosa Ave., Ste. F Hermosa Beach, CA 90254 Web: Contact: David Lebenthal Styles/Specialties: guitar-oriented rock, pop. Specializing in national radio promotion, distribution and press campaigns PLA MEDIA, INC. 1303 16th Ave. S. Nashville, TN 37212 615-327-0100 Fax 615-320-1061 E-mail: info@okanedua,cin Web: POP CULTURE IMAGE 2554 Lincoln Blvd., Ste. 731 Venice, CA 90291 310-314-2790, 310-650-7161

62 June 2013

E-mail: Web: Contact: Dan Del Campos PPL ENTERTAINMENT GROUP INC. 468 N. Camden Dr. Ste.200 Beverly Hills, CA 90210 310 860-7499 818-506-8533 E-mail: Web: Contact: Maxx Diamond PRTHATROCKS.COM 17 Greenwood Cove Dr. Tiburon, CA 94920 USA 415-233-7350 E-mail: Web: Contact: Christopher Buttner, President Styles: hard rock, heavy metal, progressive rock, indie, new age, electronic, jazz, instrumental (as well as events, concert tours, stage productions and technology) Clients: Dream Theater, Jordan Rudess, John Petrucci, Greg Kihn, Steven Halpern, Point Break LIVE!, SF MusicTech Summit,, Frank Serafine, Pyramind. com, Berklee Press, TJ Martell Foundation PROPELLER PUBLICITY 214 N. 11th St., #4M Brooklyn, NY 11211 718-387-1301, cell 347-215-4710 E-mail: Web: Contact: Angie Carlson PYRAMID COMMUNICATIONS 239 N.W. 13th Ave., Ste. 215 Portland, OR 97209 503-241-2341 Fax 503-238-5788 E-mail: connect@pyramidcommunications. com Web: Additional location: 1932 First Ave., Ste. 507 Seattle, WA 98101 206-374-7788 Fax 206-374-7798 RANDOLPHE ENTERTAINMENT GROUP 372 Weston St. Waltham, MA 02451 786-472-7039 ext. 103, 781-983-4120 E-mail:, Web: RELAX MUSIC GROUP New York, NY 11377 646-755-5627 E-mail: Web: Contact: Patrick Rule, Chris Lewis, E-mail: Web: RIOT ACT MEDIA 411 NE 22nd Ave., Ste. 14 Portland, OR 97232 206-890-9906 E-mail: Web: ROCKSTAR PROMOTIONS 1926 Hollywood Blvd., #202 Hollywood, FL 33020 954-767-8385 Contact: Aaron Schimmel E-mail: Web: Styles/Specialties: CD/DVD replication, merchandise production (T-shirts, stickers, posters, postcards, merch items), and graphic design. ROCK STEADY 5042 Wilshire Blvd., Ste. 295 Los Angeles, CA 90036 310-927-5416 E-mail: Web: RUDER FINN CREATIVE EDGE 301 E. 57th St. New York, NY 10022 212-593-6400 Fax 212-593-6397 E-mail: Web: Contact: Rachel Spielman, Global Head of Corporate Communications SOLID PR based out of New York Metropolitan area and Southeast Florida E-mail: Web: Clients: Clutch, Adam Rubenstein, Diamond, Greys, Helms Alee SOLUTIONS IN MARKETING 2124 Plymouth Ln. Marietta, GA 30062 770-977-9778 E-mail: Contact: Sherry Hersh, CEO & President so much MOORE media 1819 Tula Pace Rd. Pleasant View, TN 37146 615-746-3994 Fax 615-746-2073 E-mail: Web: Contact: Martha Moore Clients: Mike Aiken, APA Nashville, LiveWire, Lisa Matassa, Joanna Mosca, The Roys SONICBIDS CORPORATION 500 Harrison Ave., 4th Fl. Boston, MA 02118 617-502-1300 E-mail: Web: Styles/Specialties: electronic press kits (EPKs) for all styles of music SPECIAL OPS 11 West 19th St. New York, NY 212-274-0470 E-mail:, hellohealth@ Web: Additional location: 1888 Emery St., N.W., Ste. 400 Atlanta, GA 30318 404-267-7600 E-mail: SPINLAB COMMUNICATIONS 12198 Ventura Blvd., Ste. 210 Studio City, CA 91604 818-763-9800 E-mail: Web: Styles/Specialties: branding campaigns, corporate communications, crisis communications, event planning & execution, public relations, publicity SPINS TRACKING SYSTEM 2539 Atlantic Ave., Ste. C Long Beach, CA 90806 310-325-9997 Web: Styles/Specialties: Country, AC, hot AC, top 40, hip-hop, rap, AAA, Christian, college, loud rock, jazz, smooth jazz, RPM, record pools, world, Americana STARPOLISH 1 Irving Pl., Ste. P8C New York City, NY 10003 Fax 212-477-5259 E-mail: Web: SUNSHINE SACHS & ASSOCIATES 136 Madison Ave., 17th Fl. New York, NY 10016 212-691-2800 E-mail: Web: Contact: Jeff Okeefe Additional location: 8409 Santa Monica Blvd. Los Angeles, CA 90069 323-822-9300 THINK TANK 5405 Wilshire Blvd. Los Angeles, CA 90036 212-221-7020 E-mail: Web: Additional location: 250 W. 39th St., Ste. 204 New York, NY 10018 THIRSTY EAR 22 Knight St. Norwalk, CT 06851 203-838-0099 E-mail: Web: THOMAS PUBLIC RELATIONS, INC. 734 Walt Whitman Rd. #403 Melville, NY 11747 631-549-7575

E-mail: Web: Contact: Karen Thomas TIM SWEENEY & ASSOCIATES 31805 Temecula Parkway #551 Temecula, CA 92592 951-303-9506 E-mail: Web: Styles/Specialties: all styles TOTAL ASSAULT 3272 Motor Ave. #G Los Angeles, CA 90034 310-280-3777 Contact: Web: TSC MARKETING 1030 18th Ave. S. P.O. Box 120683 Nashville, TN 37212 800-411-0494, 615-327-3277 Fax 615-329-3481 E-mail: Web: TSUNAMI GROUP INC. 314 York St., Ste. 3 Jersey City, NJ 07302 856-269-9518 E-mail: Web: Styles: Specializing in entertainment, music, producers, fashion, sports and products Clients: Lil Wayne, Justin Timberlake, Eva Longoria, Paris Hilton,etc. UNLEASHED MUSIC MEDIA MUSIC MARKETING E-mail: Web:, www. Contact: Geordie Gillespie - Managing Director VAST IMAGE MEDIA P.O. Box 60998 Pasadena, CA 91116 626-296-0342 E-mail: Web: Contact: Joey Alkes Styles/Specialties: full service marketing for spoken word w/music, conscious rap and hip-hop, world music, power pop, emo, electronica, new age and very unique singer/ songwriters. Handles the Squid Music act called DJ Monkey VITRIOL INDEPENDENT PROMOTION 3421 5th Ave. S. Minneapolis, MN 55408 612-871-4916, 651-278-8790 E-mail:, jesse@, laura@vitriolpromotion. com Web: WICKED PR 145 Pier Ave. Hermosa Beach, CA 90254 424-226-6568 E-mail: Web:


+1 MANAGEMENT & PUBLIC RELATIONS New York, NY E-mail: Web: 2 SHEPS THAT PASS 401 Broadway, Ste. 804 New York, NY 10013 646-613-1101 Fax 425-790-5717 E-mail: Web:, https:// 2:30 PUBLICITY 304 Hudson St., 7th Fl. New York, NY 10013 212-675-8959 E-mail: Web: Additional location: 1027 Bellevue Ct. E. #305 Seattle, WA 98102 206-902-7514 A1 INDIEPOWER 11054 Ventura Blvd., Ste. 333 Studio City CA 91604 818-505-0669

Download This Directory From Our Website E-mail: Web: Contact: Jay Warsinske Styles/Specialties: All styles, worldwide, PR, promotion, & distribution ABC PUBLIC RELATIONS Los Angeles, CA 818-990-6876 E-mail: Web:, abcpublicrelations Contact: Amanda Cagan ALBRIGHT ENTERTAINMENT GROUP, THE 3070 Windward Plaza, Suite F-770 Alpharetta, GA 30005 661-478-6325 E-mail: Web: Contact: Jeff Albright ALEX TEITZ MEDIA 1550 Larimer St., Ste. 511 Denver, CO 80202 720-341-8567 E-mail: Web: ALLURE MEDIA ENTERTAINMENT 34 E. Germantown Pike, Ste. 112 Norristown, PA 19401 Web: ANNE LEIGHTON MEDIA MANAGEMENT MOTIVATION P.O. Box 670922 Bronx, NY 10467 718-881-8183 E-mail: Web: ARIEL PUBLICITY 389 12 St. Brooklyn, NY 11215 212-239-8384 E-mail: Web: ARISTOMEDIA 1620 16th Ave. S. Nashville, TN 37212 615-269-7071 E-mail: Web: ARMSTRONG TROYKY 3620 E. Campbell Ste. A1 Phoenix, AZ 85018 602-476-2382 E-mail: Web: armstrong-troyky-public-relationsadvertising/163800197219 ARTISANS PR 2242 Guthrie Cir. Los Angeles,CA 90034 310-837-6008 E-mail: Web: Additional location: 2530 Wilshire Blvd., Ste. 300 Santa Monica, CA 90403 ARTISTS HOUSE MUSIC Web: ASHLEY DI BUDUO Los Angeles, CA

E-mail: Web: Clients: See web for details AUDIO CRUSH PR Bloomfield, NJ 07003 973-342-3259 E-mail: Web: Clients: Cash Cash, Maniac BEAUTIFUL DAY MEDIA & MANAGEMENT 128 Coffey St. 1R Brooklyn, NY 11231 718-522-5858 Web: E-mail: Contact: Elizabeth Freund BIG HASSLE MEDIA 40 Exchange Pl. Ste. 1900 New York, NY 10005 212-619-1360 Fax 212-619-1669 E-mail: Web: Additional location: 5566 W. Washington Blvd. Los Angeles, CA 90016 323-456-3490 BIZ 3 PUBLICITY 1321 N. Milwaukee Ave., Ste. 452 Chicago, IL 60622 773-342-3331 E-mail: Web: BROOKES COMPANY, THE 10 W. 37th St. - 5th Fl. New York, NY 10018 212-768-0860 E-mail: Web: BSG PR 20501 Ventura Blvd. Ste. 145 Woodland Hills, CA 91364 818-340-4422 Fax 818- 340-0040 E-mail: Web:

CPR (CAROLYN PUBLIC RELATIONS) P.O. Box 55 Radio City Station New York, NY 10101-0055 212-721-3341 E-mail: Web:

BURSON-MARSTELLER New York, Miami, Hong Kong, Brussels E-mail: Web: CAMPBELL ENTERTAINMENT GROUP 416 Benton Franklin, TN 37067 615-210-3602 E-mail: info@campbellentertainmentgroup. com Web: CAPITAL ENTERTAINMENT Washington, DC 20002 202-506-5051 E-mail: billcarpenter@capitalentertainment. com Web: CDROLLOUT 800-811-7478 E-mail: Web:

BLACK ROSE PRODUCTIONS, INC. 409 Route 112 Port Jefferson Station, NY 11776 631-509-0449 E-mail: admin@blackrose Web: Additional location:

CHARM SCHOOL PR 917-593-7183 E-mail: Web:, http:// Contact: Amy Welch Clients: Vagrant, Staple Records, Evan Dando, The Hold Steady, California Wive

15 Gloria Ln. Fairfield, NJ 07004 631-367-8544, 973-575-7460

CHASEN & COMPANY 310-274-4400 E-mail:

BLACK & WHITE PR The Lot 1041 N. Formosa Ave., Ste. 214 West Hollywood, CA 90046 E-mail: Web:

CHIPSTER PR 356 Golfview Rd., Ste. 408 N. Palm Beach, FL 33408 561-691-1652 E-mail: Web:

BOBBI COWAN PR P.O. Box 805 N. Hollywood, CA 91603 818-980-2372 E-mail: Web:

CONQUEROO 11271 Ventura Blvd., Ste. 522 Studio City, CA 91604 323-656-1600 E-mail: Web:

BOBBI MARCUS PUBLIC RELATIONS & EVENTS, INC. 131 N. Bundy Dr. Los Angeles, CA 90049 310-889-9200 Fax 310-889-0019 E-mail: Web: Contact: Bobbi Marcus

COSTA COMMUNICATIONS 8265 W. Sunset Blvd., Ste. 101 Los Angeles, CA 90046 323-650-3588 E-mail: Web:

BROKAW COMPANY, THE 9255 Sunset Blvd., Ste. 804 Los Angeles, CA 90069 310-273-2060 E-mail: Web:

CRASH AVENUE PUBLICITY 1201 Story Ave., Ste. 228 Louisville, KY 40206 502-384-3107 E-mail:, michael@crash-avenue Web: Contact: Jeffrey Smith, publicist and Michael Powell, publicist Additional location: 394 Broadway, 5th Fl. New York, NY 10013 DANGER VILLAGE Chicago, IL 60608 217-721-3792 E-mail: therearenostupidquestions@ Web: DAVIDSON & CHOY PUBLICITY 4311 Wilshire Blvd., Ste. 402 Los Angeles, CA 90010 323-954-7510, 323-954-7520 E-mail:, j.davidson@ Web: Contact: Judi Davidson, Tim Choy D. BARON MEDIA RELATIONS INC. 1411 Cloverfield Blvd. Santa Monica, CA 90404 310- 315-5444 Fax 310-315-5474 E-mail: Web: DEGY PR 1351 Forest Glen Ct. Toms River, NJ 08755 732-818-9600 Fax 732-818-9611 E-mail:, Web: Contact: Ari Nisman Additional location: 3803 Brookfield Dr. Champaign, IL 61822 217-359-4243 Fax 732-818-9611 Contact: Jeff Hyman E-mail: DEPT. 56 818-702-6253 Fax 818-883-4941 E-mail: Contact: Tresa Redburn Client: Tom Waits, Merle Haggard, Henry Rollins

COYNE PR 5 Wood Hollow Rd. Parsippany, NJ 07054 973-588-2000 Fax 973-588-2361 E-mail:, sbecker@ Web:

DE WAAL & ASSOCIATES 7080 Hollywood Blvd., Ste. 515 Los Angeles, CA 90028 323-462-4122 Fax 323-463-3792 E-mail: Web: Contact: Sarah J. De Bruin DIGNEY PR 1680 N. Vine St., Ste. 1105 Hollywood, CA 90028 323-993-3000 ext. 215

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Denver, CO 80202 303-296-4100

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DILEMMA 9107 Wilshire Blvd. #450 Beverly Hills, CA 90210 888-485-4154 E-mail:

ELIZABETH MEADIA LIZ MEADE 1611 16th Ave., S Nashville, TN 37212 615-512-4555 E-mail:

HANDS ON PR & MARKETING 310-341-3201 Fax 818-508-2044 E-mail: Web: hands_on_pr_marketing/index.html Contact: Craig Melone Styles/Specialties: all styles/indie labels are our forte

DL MEDIA MUSIC 1235 Hunt Club Ln. Media, PA 19063 New York, Philadelphia, Portland 610-667-0501 Fax 610-667-0502 E-mail: Web: Contact: Don Lucoff, President DMG PUBLIC RELATIONS 468 N. Camden Dr., Ste. 200 Beverly Hills, CA 90210 310-860-7499 818-506-8533 E-mail: Web: Contact: Ted Steele DMMC Greater Des Moines Music Coalition 1620 Pleasant St., Ste 248 Des Moines, IA 50314 515-244-5537 E-mail: Web: DOUG DEUTSCH PUBLICITY SERVICES P.O. Box 291444 Phelan, CA 92329 213-924-4901 E-mail: Web: Media Contact: Doug Deutsch Styles/Specialties: full-service artist publicity and promotion, tour pr, festivals pr (blues, rock, Americana, country, pop) Roster: Ventura County Blues Festival, California Beer Festival; High Desert Music Festival, Irvine Lakes Blues Festival, Real Blues Festival of Orange County, Ventura Wine Walk, Brews Blues & BBQ Festival, Neverwonder, The Planetary Blues Band, Richie Onori, Suze Lanier-Bramlett, Solomon King, Blowin’ Smoke Rhythm and Blues Band, Peach, Mighty Cash Cats, Papa J, ellee ven, Head Honchos, Howard And The White Boys, Anni Piper, Altered Five, Alastair Greene, Jeffrey Halford & the Healers, John Enghauser, Le Reverie, New Blues Revolution, Tommy Marsh and Bad Dog, Charles Burton Blues Band, David And Devine. DOMINION3 PUBLIC RELATIONS 1420 Camden Ave., Ste. #5 Los Angeles, CA 90025 323-466-3393 Fax 323-466-2773 E-mail: Web: Contact: Kim Dixon DRPR 707-869-1884 E-mail: Web:

ELLIS CREATIVE Nashville, TN 37212 E-mail: Web: EVOLUTIONARY MEDIA GROUP 1111 N. Las Palmas Ave. Los Angeles, CA 90038 323-658-8700 Fax 323-658-8750 Web: FANATIC PROMOTION & CO. 332 Bleecker St. #G7 New York, NY 10014 917-744-1772 E-mail: Web: FLY ON THE WALL MEDIA 10002 Kent Rd. E. Bloomington, IN 47401 812-345-0342 E-mail: Web: FLY PR 2658 Griffith Park Blvd., Ste. 816 Los Angeles, CA 90039 323-667-1344 Fax 323-667-0038 E-mail: Web: Contact: Ilka Erren Pardinas FRESH AND CLEAN MEDIA 12701 Venice Blvd. Los Angeles, CA 90066 310-313-7200 Fax 310-313-0277 E-mail: Web: FUTURE STAR MUSIC GROUP Los Angeles and Miami E-mail: Web: Services: We are a full service music company: management, record label, music publishing, marketing & promotions, DJ coalition, consulting and marketing GAIL ROBERTS P.R. & INTERNET MARKETING 10061 Riverside Dr., Ste. 1400 Burbank, CA 91602 310-734-8193 E-mail: Web: Contact: Gail Roberts Styles/Specialties: Longstanding music PR firm with marketing and online promotion, internet publicity, social networking. Firm also handles marketing and media for painters, authors, corporations and ecological projects.

DUNN DEAL PR Los Angeles, CA 310-666-5336 E-mail: Web: Contact: Janet E. Dandridge

GIRLIE ACTION MEDIA & MARKETING, INC. 243 W. 30th St., 12th Fl. New York, NY 10001 212-989-2222 x117 E-mail: Web:

EARSHOT MEDIA Hermosa Beach, CA 90254 E-mail: Web:

GOOD COP PR 718-846-0518 E-mail: Web:

EASTWEST MEDIA 900 Dickson St. Marina del Rey, CA 90292 310-821-5858 E-mail: Web:

GORGEOUS PR INC. 7551 Melrose Ave., Ste. 7 Los Angeles, CA 90046 323-782-9000 Fax 323-658-6189 E-mail: Web:

Additional location: 150 W. 25th St., Ste. 903 New York, NY 10001 212-924-3916 E.B. LANE 733 W. McDowell Rd. Phoenix, AZ 85007 602-258-5263 E-mail: Web: Additional location: 1637 Wazee St., Ste. 201

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Additional location: 89 Diamond St., #1B Brooklyn, NY 11222 718-383-1387 GREAT SCOTT P.R.ODUCTIONS 4750 Lincoln Blvd., #229 Marina del Rey, CA 90292 310-306-0375 E-mail: greatscottproductions@ Web: GREEN GALACTIC 213-840-1201

HARD PRESSED PUBLICITY P.O. Box 49001 Austin, TX 78765 512-554-2799 E-mail: Web: HARRISON & SHRIFTMAN N.Y., L.A., Miami 310-855-1600 Fax 310-855-7510 E-mail: Web: Additional locations: New York City 917-351-8600 Fax 917-351-8601 Miami 305-534-0008 Fax 305-534-0158 HELIO PUBLIC RELATIONS 310-645-4246 Fax 310-933-1706 E-mail: Web: HELLO WENDY Los Angeles, CA 818-762-7063 E-mail: Web: Contact: Wendy Brynford-Jones HIGHRISE PR 59 Kent St., 2B Brooklyn, NY 11222 646-845-9844 E-mail: Web: HODGES & ASSOCIATES The Dr. Pepper Bldg., Ste. 300 2829 Second Ave. S. Birmingham, AL 35233 205-328-4357 Fax 205-328-4366 E-mail: Web: HOT SCHATZ PR 701 Harpeth Trace Dr. Nashville, TN 37221 615-782-0078 E-mail: Web: Contact: Schatzi Hageman С Owner and Press Agent HOWLIN’ WUELF MEDIA 215-428-9119, 917-523-8881 E-mail: Web: Contact: Howard Wuefling, Jocelyn Loebl ILENE PROCTOR INTERNATIONAL PUBLIC RELATIONS 9427 Charleville Blvd. Beverly Hills, CA 90212 310-858-6643, 310-721-2336 E-mail:, ilene@, Web: IMAGINE PR Washington, DC 202-713-0735 Web: IMPRESS MEDIA 917-699-2939 E-mail: Web: INDEPENDENT MUSIC MEDIA 213-864-2690 E-mail:, Web: Services: Covering national & regional print, on-line, blogs and tour press

917-338-6199 Fax 917-338-6515 E-mail:, Web: Skype: isl-pr Facebook: Twitter: #islpr IT’S ALIVE! MEDIA 6381 Hollywood Blvd., #540 Los Angeles, CA 90028 323-464-6314, 323-819-0913 E-mail: Web: JACKIE O. & CO. INC. Atlanta, GA & New York City 718-930-8400 E-mail: Web: JAG ENTERTAINMENT 818-905-5511 E-mail: Web: Contact: Jo-Ann Geffen, President JANE AYER PUBLIC RELATIONS 818-582-8481 E-mail: Web: JAZZMYNE PUBLIC RELATIONS Hollywood, CA 90028 323-596-1522 Web: Contact: Makeda Smith JENSEN COMMUNICATIONS, INC. 709 E. Colorado Blvd., Ste. 220 Pasadena, CA 91101 626-585-9575 E-mail: Web: JIM EIGO JAZZ PROMO SERVICES 272 State Route Rte. 94, S. #1 Warwick, NY 10990 845-986-1677 917-755-8960 E-mail: Web: Services: Specializing in Media Campaigns for the music community, artists, labels, venues and events J J ENTERTAINMENT 323-653-5438 E-mail: Web: Contact: Jodi Jackson JONES & O’MALLEY PUBLIC RELATIONS 10123 Camarillo St. Toluca Lake, CA 91602 818-762-8353 E-mail: Web: KALEIDOSCOPE MEDIA PO Box 150213 Nashville, TN 37215 615-321-3211 E-mail: Web: Clients: Loveless Cafe, TomKats, Barbara Mandrell, Bonnaroo Tomato Art Fest, Nashville Music Garden, LifeWorks KAYOS PRODUCTIONS, INC. 928 Broadway, Ste. 405 New York, NY 10010 212-366-9970 Fax 212-366-9978 E-mail: Web: KELLEEMACK PR P.O. Box 6152 N. Hollywood, CA 91603 310-943-9781 E-mail: Web: KEN PHILLIPS PUBLICITY GROUP 6767 Forest Lawn Dr., Ste. 211 Los Angeles, CA 90068 323-308-5912 E-mail: Web:

INK TANK PR 6325 Santa Monica Blvd., Ste. 100 Los Angeles, CA 90038 213-484-4488 Web:

KIRVIN DOAK COMMUNICATIONS 7935 W. Sahara Ave., Ste. 201 Las Vegas, NV 89117 702-737-3100 Fax 702-737-1222 E-mail: Web:

ISL PUBLIC RELATIONS LLC 303 Fifth Ave., Ste. 702 New York, NY 10016

KRIZTAL ENTERTAINMENT 15982 N.W. 48th Ave. Miami, FL 33014

Download This Directory From Our Website 305-577-1914 x25 E-mail: Web: KSA PUBLICITY 234 W. 44 St., Ste. 1004 New York, NY 10036 212-764-7900 Web: LaFAMOS PR & BRANDING 4657 Hollywood Blvd. Hollywood, CA 90027 323-668-9383 Fax: 323-668-9386 Contact: Hunter Scott, Head of Marketing & Publicity Email: Web: Specialty: Entertainment PR firm specializing in music. Building and expanding a fan base, creating demand for a product through album reviews, special features and interviews on TV, radio, magazines, blogs and newspapers, both print and online. Free consultations are also available. LAST CALL AGENCY 26 Church St., Ste. 300 Cambridge, MA 02138 781-922-1238 E-mail: Web: LATIN INDUSTRY CONNECTION Chicago, IL E-mail: Web: latinindustryconnection THE LAVIDGE COMPANY 2777 E. Camelback Rd. , #300 Phoenix, AZ 85016 480-998-2600 Fax 480-998-5525 Web: LEVENSON & BRINKER PR KPMG Centre 717 Harwood, 20th Fl. Dallas, TX 75201 214-932-6077 Contact: Anita Kasmar, VP E-mail: anita.kasmar@ Web: LIPPIN GROUP, THE 6100 Wilshire Blvd., Ste. 400 Los Angeles, CA 90048 323-965-1990 Fax 323-965-1993 E-mail: Web: Additional locations: 369 Lexington Ave., 22nd Fl. New York, NY 10017 212-986-7080, Fax 212-986-2354 E-mail: 31 Southampton Row London, WC1B 5HJ +44 (0) 203-008-5406 E-mail: LIZ ROSENBERG MEDIA New York Contacts: Liz Rosenberg, President E-mail: Web: Contact: Karen Moss, Senior Vice President, Nadia Ali, Manager Clients: Aerosmith, Charice, Cher, David Foster, Due Voci - The Diane Warren Project, Katherine Jenkins, Madonna, Michael Buble, Stevie Nicks LOBELINE COMMUNICATIONS 8995 Elevado Ave., W. Hollywood, CA 90069 310-271-1551, 877-818-4822 Fax 310-271-4822 E-mail:,, Web: Contact: Christopher Kingry LUCK MEDIA & MARKETING, INC. 8581 Santa Monica Blvd., #426 W. Hollywood, CA 90069 818-232-4175 E-mail: Web: Contact: Steve Levesque MAD INK, PR Los Angeles, CA 310-547-1212 E-mail:

Web: Contact: Melissa Dragich-Cordero MAELSTROM MUSIC PR P.O. Box 2057 Crestline, CA 92325 909-338-3875 E-mail: Web: MAGNUM PR 7 E. 35th St., Ste. 2G, New York, NY 10016 917-328-1593 E-mail: Web: magnumprnyc MARK PUCCI MEDIA Atlanta, GA 30350 770-804-9555 E-mail: Web: THE MAVEN AGENCY 27987 Urbandale Ave. Santa Clarita, CA 91350 Cell 858-525-2300 E-mail: Web: Contact: Meg McLean Specialties: Publicity, Marketing & Promotions MAYO COMMUNICATIONS Well Fargo Tower 333 S. Grand Ave., 25th F. Los Angeles, CA 91307 818-340-5300 Cell 818-618-9229 E-mail: Web: MAZUR PUBLIC RELATIONS, INC. P.O. Box 2425 Trenton, NJ 08607 609-448-7886 E-mail: Web: McGUCKIN ENTERTAINMENT PR 500 Riverside Dr., Ste. 160 Austin, TX 78704 512-478-0578 E-mail: Web: MG LIMITED 520 Eighth Ave., Ste. 2205 New York, NY 10018 212-532-3184 E-mail: Web: MICHAEL J. MEDIA GROUP 5 Timber Run Ct. Madison, WI 53719 608-848-9707 E-mail: Web:, https:// MICHELLE ROCHE MEDIA RELATIONS 360 University Cir. Athens, GA 30605 706-353-3244 Fax 706-549-6454 E-mail: Web: MITCH SCHNEIDER ORGANIZATION (MSO) Los Angeles, CA 818-380-0400 E-mail: Web: Clients: Allman Brothers Band, Bob Schneider, Chevelle, Cut Chemist, David Bowie, Deadmau5, Jo Dee Messina, Lucha Vavoom, Paul Van Dyk, Slash, Public Image Ltd., Rock On the Range, the Crystal Method, Vans Warped Tour, Voodoo Experience, Ultra Music Festival. See site for complete list. MIXED MEDIA 401-942-8025 E-mail: Web: MOODSWING 360 135 W. 26th St. 12th Fl. New York, NY 10001 212-582-4285 Fax 646-514-3311 Web: MOTION CITY RECORDS 1424 4th St. #604 Santa Monica, CA 90401 310-434-1272 E-mail: Web: Styles/Specialties: alternative rock Roster: Velvet, Voodoo, Brent Fraser, 10 Pound Troy, UFO Bro, Drag, Wendy Bucklew MOTORMOUTH MEDIA 2525 Hyperion Ave., Ste. One Los Angeles, CA 90027 323-662-3865 E-mail: Web:, www. Contact: Judy Miller Silverman MSI COMMUNICATIONS 3501 Denali St., Ste. 202 Anchorage, AK 99503 907-569-7070 E-mail: Web: MT PRESS PUBLIC RELATIONS Los Angeles, CA 917-865-1731 E-mail: Web: MUCH AND HOUSE PUBLIC RELATIONS 8075 W. Third St., Ste. 500 Los Angeles, CA 90048 323-965-0852 E-mail: Web: Contact: Laura Ackermann, Senior Publicist NASTY LITTLE MAN 110 Greene St., Ste. 605 New York, NY 10012 212-343-0740 Fax 212-343-0630 E-mail:, steve@ Web: NET MUSIC PROMOTIONS Web: NINA DENNY PR P.O. Box 1248 Ogdensburg, NY 13669 315-323-1058 E-mail: Web:

NOISE NY 22 W. 21st St., Ste. 401 New York, NY 10010 212-604-0404 E-mail: Web: Additional location: 870 Market St., Ste. 1000 San Francisco, CA 94101 415-944-1630 7083 Hollywood Blvd. Los Angeles, CA 90028 NORMAN WINTER, PUBLICITY & MARKETING In association with Global Access Advisors 702-636-6676, 310-858-5530 E-mail: Web:

O2 IDEAS PUBLIC RELATIONS 600 University Park Pl., Ste. 200 Birmingham, AL 35209 205-949-9494 E-mail: Web: PAI MEDIA INK 609 Greenwich St., 6th FL New York, NY 10014 212-206-1598 E-mail: Web: PEARCE CREATIVE SERVICES P.O. Box 892 Stinson Beach, CA 94970 415-706-3800

PITCH PERFECT PR 1738 W. Summerdale Ave. Chicago, IL 60640 773-271-6844 E-mail: Web:, pitchperfectpr Contact: Jessica Linker PLAN A MEDIA, LLC 56 W. 22nd St., 6th Fl. S. New York, NY 10010 212-337-1406 x15 Fax 212-337-2037 E-mail: DariaCoppock@plana Web: PLANETARY GROUP 6325 Santa Monica Blvd., Ste. 100 Los Angeles, CA 90038 323-952-5021 E-mail: Web: PRESS HERE PUBLICITY 138 W. 25th St., 9th Fl. New York, NY 10001 212-246-2640 E-mail: Web: PRESS HOUSE, THE 302 Bedford Ave., Ste. 13 Brooklyn, NY 11211 646-322-4903 E-mail: Web: PRESS OFFICE, THE P.O. Box #311 Shawnee-On-Delaware, PA 18356 615-419-9989 E-mail: Web: Contact: Jim Della Croce Services: MAXIMUM PR! for the Entertainment Industry PRESTO PUBLIC RELATIONS Bellingham, WA 360-733-2149 Contact: Linda Sherwood E-mail: Web:

NINA GORDON PR 310-466-1531 E-mail:

NORTHSTAR ENTERTAINMENT PR Entertainment PR* Consulting 501-I S. Reino Rd., Ste. 380 Thousand Oaks, CA 91320 805-498-5880 E-mail: Web: Contact: Sheryl Northrop

E-mail: Web: Contact: Drew Pearce

PR THAT ROCKS 17 Greenwood Cove Dr. Tiburon, CA 94920 USA 415-233-7350 E-mail: Web: Contact: Christopher Buttner, President Styles: hard rock, heavy metal, progressive rock, indie, new age, electronic, film scores, (as well as events, concert tours, stage productions and technology) Clients: Dream Theater, Jordan Rudess, John Petrucci, Steven Halpern, Point Break LIVE!, SF MusicTech Summit, Exotic Erotic Ball, Frank Serafine, Independent Distribution Collection, Rainbow Quartz Records,, Berklee Press,,,,, Bray, TJ Martell Foundation PUNCH MEDIA 7151 Sprague St., 3rd Fl. Philadelphia, PA 19119 215-621-6024 E-mail:, James@ Web: Additional location: 35 Carrick Ct. Kennington Park Rd. London, UK SE11 4EE 011 44 7900 243 007 RANDOLPHE ENTERTAINMENT GROUP 372 Weston St. Waltham, MA 02451 786-472-7039 x103, 781-983-4120 E-mail:, Web: THE RAINMAKER MEDIA GROUP 398 Columbus Ave. PMB #183 Boston, MA 02116 617-445-4383

June 2013 65

Download This Directory From Our Website E-mail: Web: Contact: Rhonda Brilliant RANDEX COMMUNICATIONS 906 Jonathan Ln. Marlton, NJ 08053 856-596-1410 Fax 856-596-3229 E-mail: Web: Contact: Randy Alexander RED ROOSTER PUBLICITY 2507 Crestmoore Pl., Los Angeles, CA 90065 323-982-1400 Fax 323-982-1500 E-mail: Web: RIOT ACT MEDIA 411 NE 22nd Ave., Ste. 14 Portland, OR 97232 206-890-9906 E-mail: Web: ROCK PAPER SCISSORS, INC. 511 W. 4th St. Bloomington, IN 47404 812-339-1195 E-mail: Web: ROSLAN & CAMPION LLC 424 W. 33rd St., Ste. 620 New York, NY 10001 212-966-4600 Fax 212-966-5763 E-mail: Web: ROGERS & COWAN 8687 Melrose Ave. 7th FL Los Angeles, CA 90069 310-854-8100 Fax 310-854-8106 E-mail: Web: Additional location: 150 E. 42nd St., 12th Fl. New York, NY 10017 212-878-5501 Fax 212-878-5117 RUDER FINN ARTS & COMMUNICATIONS COUNSELORS, INC. 301 E. 57th St. New York, NY 10022 212-593-6400 E-mail: Web: Offices in San Francisco, worldwide Hubs in Washington DC, Boston, Basel Additional location: London 1 Bedford St. London, UK 44 207 462 8900 E-mail: SABLE SOUL ENTERTAINMENT LLC P.O. Box 22225 Nashville, TN 37202 615-258-1990 E-mail: Web: Contact: Wendy Collins Squirewell SACKS & CO. 423 W. 14th St., Ste. 429-3F New York, NY 10014 212-741-1000 Fax 212-741-9777 E-mail: Web: Additional locations: Sacks & Co, Los Angeles 818-384-1180 E-mail: 1300 Clinton, Ste. 205 Nashville, TN 37203 615-320-7753 E-mail: RHONDA SAENZ-SAENZ OF THE TIMES PR 7254 Hollywood Blvd., Ste. 17 Los Angeles, CA 90046 323-823-7870 E-mail: SARAH MCMULLEN-McMULLEN & COMPANY PUBLIC RELATIONS 5715 Grape St. Houston,TX 77096 310-283-7907

66 June 2013

E-mail: Web: SCOOP MARKETING 12754 Ventura Blvd., 2nd Fl. Studio City, CA 91604 818-761-6100 E-mail: Web: SCORE 1216 Hill Dr. Los Angeles, CA 90041 323-254-4027 E-mail: Web: SECRET SERVICE PUBLICITY Austin Griswold 323-592-3241 E-mail: AIM: Secretservicepr Web: Clients: Bowling For Soup, Circle Takes the Square, Evans Blue, Polaris at Noon, Rival Sons, Social Distortion, The Wealthy West SEPTEMBER GURL MUSIC 465 18th St., #2 Brooklyn, NY 11215 718-768-3859 E-mail: Web: SERGE ENTERTAINMENT PUBLIC RELATIONS P.O. Box 5147 Canton, GA 301114 Fax 678-494-9269 E-mail: Web: SFPR/EASTWEST MEDIA 900 Dickson St. Marina del Rey, CA 90292 310-821-5858 E-mail: Web: Additional location: 150 West 25th St., Ste. 903 New York, NY 10001 212-924-3916, Fax: 212-924-5751 E-mail: Contact: Helene Greece, Partner SHORE FIRE MEDIA 32 Court St., Ste. 1600 Brooklyn, NY 11201 718-522-7171 E-mail: Web: SNEAK ATTACK MEDIA 118 East. 28th St., Ste. 301 New York, NY 10018 212-481-3400 Fax 212-481-3432 E-mail: Web: SOLID PR Pennsylvania E-mail: Web: Clients: Akimbo, An Albatross, Bakerton Group, Big Business, Clues, Clutch, Cub Country so much MOORE media 1819 Tula Pace Rd. Pleasant View, TN 37146 615-746-3994 E-mail: Web: Contact: Martha E. Moore Current Clients: FLYNNVILLE TRAIN, Todd Fritsch, Mark Wayne Glasmire, The Grascals, The Roys, Tommy Steele MRY 11 W. 19th St., Fl. 3 New York, NY 10011 212-274-0470 E-mail:, Web: Additional location: 1888 Emery St., N.W. Ste. 400 Atlanta, GA 30318 404-267-7600 567 Sutter St. San Francisco, CA 94102 212-779-8700 SPINNER PR Los Angeles, CA 323-467-7633 E-mail: Web: Contact: Deborah Brosseau STEVE MOYER PUBLIC RELATIONS P.O. Box 5227 West Hills, CA 91308 818-784-7027 Fax 818-784-7099 E-mail: Contact: Steve Moyer Services: Publicity for Musicians and Concert Artists STUNT COMPANY 20 Jay St., Unit 208 Brooklyn, NY 11201 718-222-8963 Fax 718-222-2878 E-mail: Web: Contact: Sue Marcus SUNSHINE SACHS & ASSOCIATES 136 Madison Ave., 17th Fl. New York, NY 10016 212-691-2800 E-mail: Web: Contact: Tiffany Shipp Additional location: 8409 Santa Monica Blvd. Los Angeles, CA 90069 323-822-9300 SUSAN BLOND, INC. 50 W 57th St., Fl. 14 New York, NY 10019 212-333-7728 Web: TEAM CLERMONT PUBLICITY AND PROMOTION 191 E. Broad St. Ste. 310 Athens, GA 30113 706-543-9455 E-mail: Web: Services: Radio Promotion and Publicity THE OUTLET 14 E. 4th St., Ste. 602 New York, NY 10003 212-777-6727 E-mail: Web: THINK PRESS Los Angeles, CA 323-661-7802 E-mail: Web: THOMPSON & CO. PUBLIC RELATIONS 600 Barrow St., Ste. 400 Anchorage, AK 99501 907-561-4488 Fax 907-563-3223 E-mail: Web: Additional location: 44 West 28th St., 14th Fl. New York, NY 10001 646-794-4281 THOMAS PR 734 Walt Whitman Ste. 206 Melville, NY 11747 631-549-7575 E-mail: Web: Contact: Karen Thomas Client: Great Cat TIJUANA GIFT SHOP 42 Broadway, 22nd Fl. New York, NY 10004 917-678-4420 E-mail: Web: Contact: Jeff Kilgour TOOLSHED INCORPORATED 45 Belcher Rd. Warwick, NY 10990 845-988-1799 E-mail: Web: Additional location:

1252 Falmouth Ct. Chapel Hill, NC 27517 919-951-9967 E-mail: Contact: Suz McCracken TRUE PUBLIC RELATIONS 6725 W. Sunset Blvd., Ste. 570 Los Angeles, CA 90028 323-957-0730 E-mail: Web: Contact: Mike Liotta TRUE TALENT MANAGEMENT/PR 9663 Santa Monica Blvd. #320 Dept. WEB Beverly Hills, CA 90210 E-mail: Web: Contact: Jennifer Yeko Services: Artist Management, Music Licensing, Music PR TSUNAMI GROUP, INC. 856-269-9518 E-mail: Web: Styles: Specializing in Entertainment, Music, Producers, Fashion, Sports and Products Clients: Lil Wayne, Skyz Muzik, Jessica Simpson, ONYX, Justin Timberlake UNLEASHED MUSIC MEDIA MUSIC MARKETING New York, Los Angeles, Detroit Geordie Gillespie - Managing Director E-mail: Web:, www. VANDENBERG COMMUNICATIONS 1900 S. Corgiat Dr. Seattle, WA 98108 206-447-1801 Fax 206-447-1848 E-mail: Web: VITRIOL INDEPENDENT PROMOTION 3421 5th Ave. S. Minneapolis, MN 55408 612-871-4916 Web: W3 PUBLIC RELATIONS 5657 Wilshire Blvd., Ste. 260 Los Angeles, CA 90036 323-934-2700 Fax 323-934-2709 E-mail: Web: WEBB N RETAIL Sherman Oaks, CA 818-453-8777 E-mail: Web: Contact: Gale Rosenberg Services: Music Marketing, promotion and PR. Both online and traditional WILDFIRE PUBLICITY 615-825-0019 Fax 615-825-0094 E-mail: Web: WORKING BRILLIANTLY 310-748-7560 E-mail: Web: WOLFSON ENTERTAINMENT, INC. 22201 Ventura Blvd., Ste. 207 Woodland Hills, CA 91364 818-615-0499 Fax 818-615-0498 E-mail: Web: Contact: Jonathan Wolfson XO PUBLICITY LLC KAYTEA MCINTOSH Portland, OR 97211 541-207-3872 E-mail: Web:

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June 2013 69


Your Film/TV Tunes: How to Make Shows Come Back to You Time After Time


lacing songs in film and television has for years been lucrative for major labels, independent companies and even some DIY artists. But too often a great song’s chances are torpedoed by complex rights hassles or poor preparation. Indeed, when a music supervisor discovers that you don’t control both your mastering and publishing rights, he or she will likely move on to someone who can deliver songs without the headaches. In the following Tip Jar, industry expert Frank Liwall explains how independents who control their songs’ master and publishing rights have a powerful advantage in the film/TV licensing game. 1. Save Time For The Gate Keepers. In our time of mass consumption of information, with a wall of music surrounding us every time we blink, and ever-shrinking net profits, it is absolutely imperative that we, as independents controlling both sides, be able to save time for the users of our music. If we can save time for the keepers of the gate, they’ll appreciate it and come back for more. 2. Understand the Needs Of The Pitch. Be focused. Know your catalog, and know your strengths. Obviously, controlling both sides of a license––the master and the publishing––already gives you a leg up in most instances, but understanding the needs of the pitch and knowing what you can provide to fulfill those needs, is what really seals the deal. Be focused in what you pitch. Better to send one or two spot-on pitches rather than cramming the inbox with 20 “must haves.” 3. Communicate In A Timely Manner. Being responsive to the needs of music supervisors or editors requires not only knowing what to pitch to them, but also, how soon to pitch it. Most supervisors are working on tight deadlines, so whether it is responding to their budgetary needs or creative needs, the ability to communicate quickly and clearly goes a very long way.

5. Be Forward Thinking. With media needs changing so quickly, it is important to always be willing to openly discuss new types of licensing needs that might be required. This is an approachable subject when dealing with independents, but imagine the layers involved when approaching a new licensing idea with a multi-national organization. As independents we have the ability to think outside the box and make what appears to be an unworkable situation into one that is beneficial to all parties. 6. Keep Your Ear To The Ground. Most creatives these days don’t want the current Top 40 single to fill their needs. So, when it comes to mining the fields for the next big thing or the hippest new sound, the independents are the “go to” source.

7. Indie Is In. Finally, our time has come. Being indie is the place to be. Whether it is series such as Shameless, Breaking Bad or Vampire Diaries, when it comes to TV, being an independent is definitely the way to go. These shows want to use our music, and making it a one-stop no-hassle process only sweetens their experience. 8. We Cross-Market. Just getting a song placed in the biggest TV show or blockbuster film is often not enough. If we control both sides of the placement, we can add key search work links in social media platforms, which will drive sales and further recognition for the artist. This, in turn, opens the avenue to new fans, allowing them to discover new music, while creating new demand in new markets.

“It is amazing how quickly word can spread when supervisors or creatives discover that you control both sides of a particular artist or a particularly hard-to-find genre of music.”

4. Build One-to-One Relationships. We don’t have the bureaucracy of the majors. This is why independents that control both sides of a pitch often win out. We often control catalogs that work with us because of our business sense; these catalogs want us to work closely with them in further exploiting their works. They are as eager as we are to close the deal and move on to opening the door for another. Such a close one-to-one relationship doesn’t exist when you’re dealing with large multi-layered majors. The majors often have four or five steps before they even get to the approval that might be required from the original writer or artist.

70 June 2013

We’re the ones cultivating the stars of tomorrow, and who truly have our ear to the ground, deciding the next movement in music.

9. The Snowball Effect. It is amazing how quickly word can spread when supervisors or creatives discover that you control both sides of a particular artist or a particularly hard-tofind genre of music. If you’ve managed to assist in making the creative process easier, you’ll find that users will certainly come back to you and refer others to you when they’re searching for that similar artist or sound. Suddenly, working with one supervisor leads to working with five, 10, and so on. 10. Film And TV Create Interest And Revenue. Gone are the days of chasing radio. One key placement can bring you immediate sync income for the master and the publishing. Plus, download sales that come from properly marketing the placement and performance mean income derived for the label, publisher and writers. If you control both sides of the placement, you have potentially opened up six revenue streams, versus the one or two you might see from radio. FRANK LIWALL founded the Royalty Network in 1994 based on the notion of offering non-traditional and progressive administration deals to songwriters, artists, producers and publishers. By taking an innovative and non-proprietary approach to copyright ownership, the expertise of 18 years of experience as a sharpshooting numbers man (Liwall is an accountant and auditor by trade) and who previously handled such duties for The Harry Fox Agency Inc., Liwall has earned himself a following that boasts some of the most prolific and talented people in the music industry. Contact him via and http://

June 2013 71

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Music Connection's June 2013 Issue  

Phoenix discuss Coachella, new record; We ask the question, "Is Crowdfunding just a fad?"; and we offer our "Everything Indie Guide (Record...

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