December 2020 by Music Connection

December 2020

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CREATE. PRODUCE. MIX. REPEAT. Cubase guides you on your music production journey Do you want to start creating your own music, bring your production up to a professional level, or streamline your workflow for short deadlines? Whatever you need, Cubase helps you to reach your full creative potential. From Hollywood blockbuster composers and Billboard Hot 100 producers right through to keen beginners, the world of music production trusts the comprehensive feature set, straightforward tools and unrivaled sound of our acclaimed music production software. The reference standard for music production software

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CONTENTS 42

Informing Music People Since 1977 December 2020 • Vol. 44 • No. 12

H.E.R. MC speaks with H.E.R. about the social meaning behind her music, the role that her management team at MBK Entertainment has played in her development as an artist and the influence that her music has had on both of the ethnic communities she belongs to.

By Miguel Costa Photos: RCA Records

52 49

50 Best Career Tips of 2020

08. Close Up 09. Assignments 10. New Toys 20. Book Store 22. Up Close 24. Studio Mix 29. Business Affairs 30. The Legal Beat 34. Song Biz 38. Film•TV•Theater 40. Mixed Notes

32 Hot 100 LIVE Unsigned Bands of 2020 Compiled By Mark Nardone

46 Top 25 New Music Critiques & 20 Top Prospects of 2020

Reviews 56. Album Reviews 57. Livestream Reviews

Compiled By Joseph Maltese

Artists& Venues: Navigating The Pandemic

By Eric Harabadian

14. Stocking Stuffers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 16. Gifts Under A Grand. . . . . . . . . . . . . . . . . . . . . . . . . . . . By Joseph Maltese 26. Producer Crosstalk: Michael Stern. . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 27. Product Profile: AUDIX Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . By Steve Sattler 28. Exec Profile: Helen Yu, Yu Leseberg . . . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann 36. Songwriter Profile: BAO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 62. Tip Jar: Mesmerizing An Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Derek Day December 2020

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Compiled By Mark Nardone

Departments

Compiled By Jacob Trask

Our Favorite Signing Stories of the Year

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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.

THIS HOLIDAY, GIVE THEM EVERYTHING THEY NEED TO START RECORDING

Giving the gift of a Focusrite Scarlett studio pack provides the musician on your list everything they need to get started recording onto a computer straight out of the box. Whether you choose the Scarlett Solo Studio (1 mic input) or Scarlett 2i2 Studio (2 mic inputs), youâ&#x20AC;&#x2122;re choosing from the best-selling range of USB audio interfaces in the world with over 3 million units sold to date. Along with an audio interface, both bundles include a microphone, headphones, XLR and USB cables, and recording software and effects. They will be recording their Holiday themed album in no time.

focusrite.com/scarlett December 2020

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Bigger.

Bolder. Better. The all-new WA-87 R2 - still $599/€ 649 (inc VAT)

E. Eric Bettelli PUBLISHER E. Eric Bettelli GENERAL MANAGER / ADVERTISING DIRECTOR ericb@musicconnection.com

Denise Coso OPERATIONS MANAGER / DIRECTORIES EDITOR denisec@musicconnection.com

Steve Sattler BUSINESS DEVELOPMENT MANAGER steve@creativesalesresource.com

Hillorie McLarty

˚ Faithful recreation of the classic 60s design

ADVERTISING / MARKETING

hillorier@musicconnection.com

Ray Holt

˚ Custom-wound transformer from Cinemag USA ˚ Top-shelf components from Wima and Nichicon

SENIOR EDITOR / ASSOCIATE PUBLISHER

markn@musicconnection.com

John Curry ART DIRECTOR artdirector@musicconnection.com

Joseph Maltese ASSOCIATE EDITOR / SOCIAL MEDIA MANAGER

jacobt@musicconnection.com

Barry Rudolph NEW TOYS

barry@barryrudolph.com

Dan Kimpel SONG BIZ

DIRECTOR OF DIGITAL MARKETING

dan@dankimpel.com

rayh@musicconnection.com

gtllaw59@gmail.com

Jessica Pace FILM / TV / THEATER

˚ NOS Fairchild transistor

Mark Nardone

j.marie.pace@gmail.com

Glenn Litwak THE LEGAL BEAT

Brett Callwood BUSINESS AFFAIRS

brettcallwood@gmail.com

FEATURE WRITERS

˚ Nickel-plated brass body ˚ Sonically richer and deeper

Andy Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com Daniel Siwek danielsiwek@roadrunner.com Editorial Interns

Serenety Balthazar • Peyton Philips CONTRIBUTING WRITERS Heather Allen, David Arnson, Andrea Beenham, Bobby Borg, Kara Bradford, Pierce Brochetti, Brett Bush, Alexx Calise, Brett Callwood, Miguel Costa, Gary Graff, Eric Harabadian, Andy Kaufmann, Glenn Litwak, Andy Mesecher, Kurt Orzeck, Jessica Pace, Rob Putnam, Adam Seyum, Daniel Siwek, Brian Stewart, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Heather Allen, David Arnson, JB Brookman, Brett Callwood, Alexx Calise, Daren Cornell, Miguel Costa, Jody Domingue, Jim Donnelly, Kevin Estrada, Apple Kaufmann, David Klein, Alex Kluft, Heather Koepp, Tony Landa, Dave Long, Thomas Long, Charlie Meister, Scott Perham, Garrett Poulos, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Joshua Weesner, Ellen Woloshin

MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright © 2020 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / michael@jmichaeldolan.com

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WISDOM

PEACE, LOVE & HAPPINESS

SOUL

M I L A N O D E S I G N . J A PA N E N G I N E E R I N G . AMERICAN LEGEND. V-MODA is proud to present the first collaboration in our Artist Series, featuring guitar icon, Jimi Hendrix. Jimi Hendrix rose from humble beginnings to become one of the most influential and respected musicians of all time. Often called an â&#x20AC;&#x153;electric alchemist,â&#x20AC;? he launched guitar playing into a new era with his innovative musical style and pioneering use of tone-altering effects like fuzz, wah, phasing, and more. Available now at www.v-moda.com/hendrix

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– JONATHAN WIDRAN

POPPYIRIS poppyirismusic.com One of the industry’s foremost songwriting coaches with thousands of student success stories under her belt, multiple award-winning singersongwriter Deedee O’Malley’s influential volume The Lemonade Maker musical ebook is her trademark primer on how to take setbacks and turn them into something great. She also has a YouTube show titled The Lemonade Maker. With pandemic related lockdowns preventing indie and superstar artists alike from gigging and touring, no year has tested her trademark optimism like 2020. Believing in that proverbial light at the end of the tunnel and urging everyone to keep their spirits up and positivity focused, O’Malley and her Nashville-based singing and writing partner Mike Lusk are not simply making lemonade––they’re literally blooming, personally and creatively, as the romantic country-pop duo POPPYIRIS, named after the state flowers for their home states of California and Tennessee. Launching with the drop of three singles at the tail end of 2019, POPPYIRIS has enjoyed a prolific output in 2020 (pre and during the pandemic), releasing nine singles, two full-length albums (Love Just Knows and Uptown Girl Downhome Guy) and earned thousands of views on YouTube and their website for the nine videos they have shot this year for infectious songs like “Uptown Girl Downhome Guy,” “Why The Hell Knot,” “Greener Where You Are,” “So Familiar,” “My Red White and Blue,” “Our Time, “Ain’t No Secret,” “Finally Got It Right,” “Popsicle Stand” and “Another Chance.” “Deedee and I really focused on shooting the videos when COVID-19 shut live performances down,” says Lusk, a veteran studio vocalist who has sung with country greats like Tanya Tucker, Garth Brooks, Darius Rucker, Miranda Lambert, Alan Jackson and George Strait. “Though we

December 2020

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have worked together in Nashville, it made more sense for me as one person to fly out to the West Coast, where they have such amazing, diverse terrain—desert, mountains, beaches, valleys—that we chose to feature in these clips.” O’Malley, a three-time John Lennon Songwriting Contest winner who has shared stages with the likes of LeAnn Rimes, Willie Nelson, Kenny Rogers and Glen Campbell and sung with Jermaine Jackson, Patti Labelle and The Pointer Sisters, adds, “We started to do these when it seemed people all felt trapped in their own homes and backyards. We chose to shoot in these wide-open spaces to give people at home a sense of space when they couldn’t get it themselves.” Lusk and O’Malley’s POPPYIRIS collaborative team includes her longtime songwriting partner Cindy Walkov and producer Grant W, Nicholas, who has worked with Yolanda Adams, Sy Smith, Ne-Yo, Toni Braxton and John Legend. The duo first connected when O’Malley and Walkov came to Nashville in 2016, hoping to find the best male vocalist for O’Malley to sing their recently penned duets with. They found Lusk through producer Peter Young. The singers had instant personal and vocal chemistry and recorded many of these duets. Once O’Malley realized Lusk was also an accomplished songwriter, they took their collaboration to a new level and evolved into an official duo patterned after the male-female dynamic of artists like Sugarland and Lady A. “When we first met at the studio in Franklin, we realized our senses of humor were similar, the professionalism was there, and there was a deep connection that was as if we had known each other our whole lives,” Lusk says. O’Malley adds, “We branded ourselves POPPYIRIS because there’s no better symbol for the concept of timeless love than a flower. Beyond just musical partners, we have become great friends and are also part of each other’s families.” Contact POPPYIRIS via Don Swartz, 615-477-4801

Carine Kowalik Social Media Specialist Korg USA

Mac Johnson

Marketing Development Manager Point Source Audio

Korg USA Inc. has hired Carine Kowalik as Social Media Specialist for Korg USA. Carine Kowalik joins Korg after working in music marketing and promotion for over a decade. As a musician herself and former tour manager, Carine is fondly familiar with the Korg family of products and types of content musicians find engaging. Kowalik returns to the East Coast after most recently serving as Artist & Industry Coordinator at Musicians Institute in Los Angeles. She brings with her a proven track record in creative project management and problem solving, coupled with her connection to today’s social media landscape and trends. For more information, contact morganw@korgusa.com.

Point Source Audio has named Mac Johnson as its Market Development Manager. Johnson has over 30 years experience in the professional audio industry, having toured as a Production Sound Engineer on Broadway, music festivals and corporate events. Prior to joining Point Source Audio, he was the managing partner of an event production company in Charleston, SC and became an integral part of Meyer Sound’s team in 2007, where he spent 13 years working across multiple departments. Johnson will be working closely with all of the company’s clients to support them in education and development. For more, contact press@point-sourceaudio.com.

Michelle Rice

Cory Sims

Urban One has named Michelle L. Rice President of TV One and CLEO TV. Since 2018, Rice has served as General Manager with full oversight of TV One, the entertainment network serving Black viewers, and spearheaded the launch of CLEO TV, an aspirational cable network targeting millennial and Gen X women of color. Rice has brokered an exclusive partnership with the NAACP to develop and launch the “Hey Black America” digital content campaign. Rice was one of the inaugural TV One employees, hired as the Vice President, Distribution Strategy, and Operations. To learn more, contact jalila@jlmediapr.com.

AI Music Similarity (AIMS) has appointed music-tech consultant Cory Sims to the position of Senior Director of Business Development. Sims started his music career as a drummer and tour manager for the band Bronze Radio Return. He was a music promoter in Hartford, CT, before becoming the Business Development Executive at The Harry Fox Agency in 2018. He launched his music consultancy group CES Associates, Inc. and has helped startups and artists navigate the music industry. AIMS uses powerful AI to search for and recommend music within a catalog of reference audio tracks designed by music supervisors. Contact zeynep@rockpaperscissors.biz.

Alicia Richards

Jeff Shreiner

Brand X Music named Alicia Richards Head of Creative Sync. Prior, Richards ran her own firm AR Music Services where she handled projects for clients such as Viacom, Turner Network, Warner Bros. Pictures, Sony Television, Audible, Millennium Films, and Radical Media. Previously, she worked at Warner Bros. Records as Senior Vice President Creative Sync. Her career also spans executive posts in sync at Sony Music Entertainment and Disney Music Publishing. Representing the company’s five catalogs, she oversees the sync department and orchestrates placements for an in-house library comprising of 8,000-plus tracks. Contact felecia@thepurpleagency.com.

Korg USA Inc. has announced the promotion of Jeff Shreiner to Marketing Manager for Spector Musical Instruments (SMI). Jeff Shreiner joins the SMI team after 7.5 years at Korg USA, where he served most recently as Brand Manager of Korg Tuners, Waldorf, Sakae, as well as other drum and accessories lines during his tenure. As Marketing Manager for SMI, Shreiner joins an experienced and dedicated team responsible for supporting the electric bass brand through its trusted network of international distribution partners. For more information about this promotion, contact morganw@korgusa.com.

Erica Muhl

Caroline Beasley

Berklee College of Music announced Erica Muhl as its new president. Muhl comes to Berklee from a 30 year career at the University of Southern California, where she was dean and founding executive director of the Jimmy Iovine and Andre Young Academy for Arts, Technology and the Business of Innovation. Muhl also served as associate dean of the USC Thornton School of Music, where she had been Professor of Composition with tenure since 1990. An accomplished composer and conductor, she becomes the first woman to serve as Berklee’s president, and only the fourth president in the institution’s 75-year history. Muhl begins her term in July 2021. For more information, contact tdonahue@berklee.edu.

Broadcast Music, Inc. (BMI) announced the election of Caroline Beasley as Chairman of the BMI Board of Directors. Beasley, who joined the Board in 2014, most recently served as Vice Chairman. Beasley was named CEO of Beasley Media Group, LLC in 2017. Previously, she held senior-level positions within the company since 1994, including Executive Vice President, Chief Financial Officer, Treasurer and Secretary. In addition, she has served as a Director of Beasley Broadcast Group, Inc. since 1983. Beasley is a member of the Broadcasters Foundation of America Board of Directors and serves on the FCC Diversity and Inclusion Committee. To learn more about this appointment, contact LFischer@bmi.com.

President TV One; CLEO One

Head of Creative Sync Brand X Music

President Berklee College of Music

Senior Director AIMS

Marketing Manager Spector Musical Instruments

Chairman BMI Board of Directors

December 2020

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– BARRY RUDOLPH barry@barryrudolph.com

IZOTOPE RX 8 RX 8 is iZotope’s latest complete toolkit for audio surgery for all music producers and post-production professionals. It is included in RX Post Production Suite 5. For over 10 years, RX continues to be improved and upgraded making it the industry-standard audio repair tool used on countless albums, movies and TV shows to restore damaged and unusable audio. RX 8 comes in three versions: RX 8 Elements, RX 8 Standard and RX 8 Advanced—all available at special introductory prices. As before, the non-real time processors all run standalone using your computer’s core audio. Users familiar to iZotope will appreciate the updated DAW plug-ins for De-Click, De-Reverb, De-Clip, De-ess, De-crackle, De-plosive and De-hum, plus RX 8 Breath Control, Spectral De-noise, Mouth De-click, Guitar De-noise and Voice De-noise. I received a copy of RX Advanced and I immediately tried out the Spectral Recovery and Wow & Flutter repair modules—two new tools in Advanced only. Spectral Recovery restores lost frequencies above 4kHz and worked great to “uncover” the sound of an old worn-out tape recording. I had a warbling problem with an old record transcription and the new Wow & Flutter processor in RX 8 Advanced corrected both sustained slow pitch variations (wow) and faster amplitude/pitch fluctuations (flutter) associated with tape, vinyl and optical (film) transfers. The new Loudness Control will conform production audio to broadcast requirements or your own specs for True Peak, Integrated Loudness and Short Term loudness. There are the new Guitar De-noise, improved Music Rebalance and a new 32 Audio Tab Limit in all versions that doubles the previous 16 tab limit—you can view and edit up to 32 files within RX Audio Editor. RX 8 Elements is $129, RX 8 Standard is $299 and RX 8 Advanced is $1,199. RX Post Production Suite 5 is $1,999. izotope.com

DEAN GUITARS EDGE PRO SELECT SERIES BASS GUITARS Dean Guitars Edge Pro Select basses are designed to have a tight low end by using materials that add resonance and clarity. Available in 4, 5 and 6-string models, Dean’s Edge Pro Select basses are designed by modern bass players. They have swamp ash bodies with either walnut or burled poplar sides and natural satin finishes. You get a bolt-on neck with a dual-action truss rod to ensure stability for the 5-pc maple walnut neck, which offers superb note articulation. The 4 and 5-string models have a traditional 34-inch scale neck, while the 6-string beast utilizes a 35-inch scale length to balance intonation and string tension for the lower tunings. Each model has a comfortable C-shaped neck with 24 frets on an ebony fret board—I like the stylish pearl dot inlays. Dean’s high-mass bass bridge is solid and massive to take on maximum fast and furious riffing, slaps and hard chording, while still providing extra sustain for subdued styles. Grover tuners are standard kit. The Edge Pro Select Series use DMT (Dean Magnetic Technologies) Design Passive Soap-bar pickup with low-mid-high controls using a three-band active EQ with volume controls for both the bridge and neck pickups. The Burled Poplar top models feature the Fishman Fluence PRF BS Pickup. Dean Guitars Edge Pro Select Series Bass Guitars start at $729. deanguitars.com

BABY AUDIO PARALLEL AGGRESSOR Baby Audio’s Parallel Aggressor is an all-in-one stereo limiter/compressor/saturator plug-in with a three-channel mixer to blend combinations of the Dry plus two other versions of the same audio signal. All three signals are phase-locked together and available at the same time as: Dry or the original audio, a heavily compressed duplicate called Spank, and Heat is a well-saturated copy. Parallel processing is nothing new—most stereo plug-ins have wet/dry controls but Parallel Aggressor is designed to give you more control and tonality characters but without elaborate plug-in configurations. Spank is a punchy compression algorithm that takes up where Baby Audio’s “I Heart NY” plug-in left off but with sonic improvements, better signal detection and flexibility. Spank can be further tailored with injection buttons: Extra Punch, Extra Smack, Sidechain Filter and Mono, where the Spank audio is summed to the center of the mix leaving the Dry and Heat components in full stereo. Heat is analog-modeled saturation with an aggressive bite. It is based on Baby Audio’s tape saturator from Super VHS and also has its set of injection buttons labeled Extra Hot, Tone, HP Filter and LP Filter. Heat by itself is a useful distortion plug you can get very fuzzy with. Lastly, Auto Gain matches output level to the Dry signal and is good for experimenting while still keeping legal levels, or when you’re in a hurry getting a demo mix done! Parallel Aggressor from Baby Audio sells for $49 to download and runs in VST, VST3, AU and in AAX hosts. babyaud.io/parallel-aggressor-plugin

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– BARRY RUDOLPH barry@barryrudolph.com

YAMAHA PSR-EW310 AND PSR-E373 PORTABLE KEYBOARDS The 76-key PSR-EW310 and 61-key PSR-E373 are the newest portable keyboards and replace the PSREW300 and PSR-E363 respectively. Both of these new instruments have the expressive capabilities derived from the Genos digital workstation and PSR-SX keyboards. The eleven Super Articulation Lite Voices, in conjunction with the Articulation button, provide greater control and realism for all voices including the string scratches and guitar slide notes sounds. There is an upgraded DSP system for adding distortion to a guitar part, or reverb to a piano recital. Other improvements include upgraded Wave Samples from the PSR-S670, and regional styles from Vietnam, Indonesia, Africa, America, Europe and Latin America. We love the Smart Chord feature that controls the style engine with a single finger to generate complex chord harmony for a professional sound. There is both USB audio and MIDI connectivity to iOS devices or your DAW, and the on-board lesson functions, including Touch Tutor, give beginners the opportunity to continue learning in between traditional piano lessons. The Yamaha PSR-EW310 sells for $519 MSRP, while the PSR-E373 is $299 MSRP. yamaha.io/3lsDVcj

SPITFIRE AUDIO ORIGINALS INTIMATE STRINGS U.K.-based Spitfire Audio has Intimate Strings—it’s the next release in their range of Originals sample library. Recorded in London at Lyndhurst Hall at AIR Studios, it features 25 of London’s finest string players playing in chamber-sized ensembles, and includes the company’s first ‘flautando’ (flute-like sounding) collection. Other extended techniques include half-sections and harmonics. Intimate comes with its own player bundled with Spitfire’s content management that gives you access to a number of free Spitfire Labs sample collections! The player has Close, (Decca) Tree and Vintage signal chains, plus a good-sounding reverb. We installed Intimate Strings in Mac OS 10.15 Catalina running Logic X on a new Mac Pro; registering the library is easy and it all worked the first time—we liked the player’s simple and intuitive controls. The library literally consists of nine patches that struck us as warm and emotionally evocative! For the most part, the presets are great as they come with an organic and warm sound that fits well into an acoustic ballad we had underway. So Intimate Strings is a great way to get a new color and flavor of a smaller string section into any song. One suggestion, perhaps on the next collection, a true legato patch could be added. Highly recommended! Intimate Strings sells for only $49 MSRP (download) and is available for AAX, AU, VST2, 3 and supports MAC OSX 10.10 or later and Windows 7, 8 and 10. spitfireaudio.com/originals

AVANTONE PRO KICK MICROPHONE Avantone Pro’s Kick Microphone uses a reproduction of the famed “white cone” speaker woofer mounted inside of a 10-inch tom-tom that’s vertically positioned on a regular drum tripod stand. Instead of drumheads, there are (sonically) transparent mesh heads to allow sound in. This 18-cm diameter low frequency driver uses a single continuous press-formed cone—the same as used in Avantone’s CLA-10 reference two-way monitor loudspeaker. The Kick is a moving coil dynamic microphone with a 50Hz to 2kHz frequency response, 6.3-ohm output impedance and a figure-of-eight polar pickup pattern. I liked the male XLR connector mounted out of the way on the bottom side of the birch plywood drum shell. Kick comes with a stage-ready, fully adjustable double-braced drum stand and drum key. I found this chromed stand nice looking and it matches any drum kit. I did want Kick to adjust a little lower—to line up with the exact center of the 1967 Ludwig 22 X 18-inch bass drum we used. I found that I had to use a sandbag on the stand’s base to counter-balance the mic’s weight for stability—it is a little precarious on its own. I recorded an AKG D112 MKII kick drum mic and the Avantone Kick on separate tracks for evaluation later. The Avantone Kick sounds mostly tonal with a subsonic deep tone—like an 808 sample and makes an excellent mixing element to blend along with the D112. Many different, great sounds are possible with the Avantone Kick microphone and next I will try it on a good-sounding bass guitar amp soon! Speakers as microphones worked great for the Beatles back in the day! Avantone Kick sells for $349 MAP and is a great way to record low frequency instruments. avantonepro.com/us-dealers.php

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BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility in North Hollywood called Tones 4 $ Studios. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com

T I M E L Y

M E S S A G E

F R O M

U N I T E D

A R C H I V I N G

Whew! With all the distractions youâ&#x20AC;&#x2122;ve had to navigate this year, thank goodness you remembered to archive your most priceless possessions. Archive today, and enjoy the holidays in peace. UnitedArchiving.com

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STOCKING STUFFERS • 2020 The Grinch has all but locked the door on merriment this year and swallowed the key, which, of course, is absolutely on-brand for him. But he’s had less luck swallowing Christmas, although he may still be trying. Just as with Music Connection’s 2019 stocking-stuffer suggestions, we’ve compiled a new list of cool yet cost-controlled gift ideas with which to stuff your favorite musician’s sock… if there are any left that haven’t already been repurposed into masks.

THE PICK PUNCH KIT

This handy piece of hardware allows users to punch their own guitar picks from practically any reasonable material: a Trader Joe’s almond milk carton, an empty beer can, a full beer can. The only real limitations are your creativity, budget and/or ability to score a sixpack. $49.95 from pickpunch.com/ pick-punch-kits.html

YOUTANG WOODEN MUSIC BOX MUSICAL PIANO

When this customizable mini pianoshaped music box is rolled out after Christmas dinner, a grandmother or two may be convinced that you or your musician is getting airplay. Whatever music that’s desired is fed into it by means of customizable music paper. It’s not unlike Frankenstein’s monster in music-box form, but with zero lightning and probably fewer pitchfork-wielding villagers. $32 from Amazon.

A CUSTOM-MADE MASK WITH YOUR MUSICIAN’S FAVORITE BAND LOGO OR EVEN THEIR OWN

The pandemic doesn’t have to ruin all the fun. If we have to wear masks––and we do––there’s no reason why they can’t be worth wearing. A number of online sellers

offer customizable face coverings. Music Connection found an Etsy vendor that will aid and abet the deal for a mere $10 apiece.

CHUPA CHUPS MELODY POPS CANDY

Chupa Chups Melody Pops Candy is commonly coveted and this tuneful treat allows musicians to multitask. They can consume and compose at the same time, 14

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since the two words are similarly spelled… although that may not be how these things work. They’re available online ––Amazon or oldtimecandy. com, among others––or in stores such as Walmart at $1.49 individually or about $215 for 144. Why buy an entire gross? Because Christmas, because Chupa and because candy.

STRUM N COMFORT KODIAK PICK

The SharkTooth Traditional Crossover Pick attaches to a player’s thumb and is a mashup of a flatpick and a thumbpick. A number of noted guitarists have raved about this handy hybrid and probably not just because it can fit in a stocking, although in this annual column that’s always cause for celebration. $12.95 for a pair from strum-n-comfort. com.

NOTEPAD-5

Notepad-5 small-format analog mixing console with USB I/O. This tiny mixer has a built-in USB audio interface, which can connect to a PC or Mac. Made by Soundcraft, it includes pro-grade mic preamps. It’s small and light enough to be carried in a backpack along with a laptop so it’s easy to record whatever, whenever, wherever. A number of features come standard such as ducking, a function that lowers background noise when the user is on mic, which is useful for Podcast recording. $109 from soundcraft. com/en/products/notepad-5

CHOCOLATE MUSIC SYMBOLS AND/OR MICROPHONES

Music is already a shortcut to euphoria. And there are few things that can’t be made more euphoric by the addition of chocolate

(Ex-Lax excluded). Various music symbols and related treats start at $2 from chocolatevault.com. Two examples are a four-inch chocolate eighth note symbol or a treble clef lollipop. Of course they also sell a chocolate Elvis, although it’s not offered in blackvelvet flavor. Yet. #MissedOpportunity.

ACOUSTIC CHEF

Noted fingerstyle and harp guitarist Muriel Anderson has toured the world and snagged several recipes along the way. Since travel broadens the mind, perhaps unique foods expand the palate. Anderson’s spiral-bound book includes a CD and recipes are accompanied by stories and songs that are inspired by the countries from which the recipes originate. If music be the food of love, then recipes are perhaps akin to sexting. $35 from murielanderson. com/cookbook

THE SNARK ST-8 TUNER

This clip-on tuner attaches to the head of various stringed instruments such as guitar, bass or ukulele. It reacts to the vibration of the instrument so background noise isn’t an issue as you tune. Consequently, you may never need your ears again! Most people find them useful for other things, though. The display can rotate 360 degrees, which makes it suitable for both righties and lefties. Around $14 online. snarktuners.com

PEDAL CRUSH

Got a guitar player on your gift list? Check out this 376 page book in which author Kim Bjorn (Patch & Tweak, Push Turn Move) takes readers through more than 800 pedals in stunning detail and imagery. Beyond inspiring, it’s also a 101 on how to approach and harness the beautiful world of pedals, which has exploded with creativity of late. Engaging

By Rob Putnam

introduction by maestro Steve Vai, amazing colorful photos and descriptions throughout make this book a page-turner. $69 from bjooks.com

MARSHALL AMP KEY HOLDER

This wall-mounted mini Marshall amp key holder includes four guitar plug keychains. Why it’s not 11 is another glaring #MissedOpportunity. This is the perfect stocking stuffer for the guitarist in your life who has more trouble finding his/her car keys than the key of G. $29.99. marshall.com/lifestyle/ jack-rack

CARRY-ON 88-KEY FOLDING KEYBOARD WITH MIDI CONTROLLER

Weighing in at only 3.5 lbs (1.6 kg) and measuring only 12.9 inches (33 cm) long when folded, this item is a unique standard-sized, 88-key piano in a foldable, easyto-store and portable format, all at a $99 price point. With a built-in sound engine with 128 high-quality

voices and 128 built-in rhythms, as well as 30 backing tracks and MIDI over USB, this might just be the ultimate go-anywhere piano. Play any time using headphones (3.5mm output) or the built-in stereo speakers. guitarcenter.com

PATCH & TWEAK WITH MOOG

This 200-page coffee table book on Moog synthesizers includes a forward from film score Santa, Hans Zimmer. There are also a number of interviews and insights from longtime Moog maestros. Hot off the presses as of Nov. 6, it’ll still be as warm as a batch of freshly baked gingerbread cookies when it’s served into a sock. Past books in the series were priced at $69. bjooks.com/pages/patch-tweakwith-moog-sneak-peek

HAVE A MERRY MUSICAL CHRISTMAS!

December 2020

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PRS SE Custom 24 The Paul Reed Smith SE Custom 24 solidbody electric guitar puts the sound, playability and gorgeous looks of the Custom line into a high-quality and affordable instrument. The SE Custom 24’s mahogany body and maple top hold two great-sounding PRS-designed 85/15 S humbucking pickups. In the 35th Anniversary edition, mini-toggle switches allow either or both pickups to play in humbucking or true single-coil mode. Its 3-piece maple neck features a wide-thin shape for easy playing, and the rosewood fingerboard is adorned with classic PRS bird inlays. The headstock has been redesigned to now sport Paul Reed Smith’s signature, adding extra “cool” factor.

$799

prsguitars.com/index.php/electrics /model/se_custom_24_2020

PreSonus StudioLive AR16c Digital/Analog Performance Mixer V-MODA x Jimi Hendrix Crossfade 2 V-MODA’s first installment of its Artist Series features three exclusive Jimi Hendrix-inspired designs: “Peace, Love and Happiness,” “Wisdom” and “Soul.” Equipped with powerful 50mm dual-diaphragm drivers with CCAW voice coils engineered in Japan, Crossfade 2 Wireless produces audio that can please even the most discerning sound engineer, with a clean, deep bass, vivid mids and a wide 3D soundstage. Feel free with 14 hours of wireless playback on a single charge, and FastCharge for when you need a last minute boost, plus unlimited playback in wired mode.

The StudioLive AR16c was built to record. With a pristine analog front-end, 12 high-gain XMAX mic preamps, and an 18x4 24-bit, 96 kHz, USB-C compatible USB 2.0 audio interface, its hybrid design makes it simple to record studio productions and mix live shows from a single console. Add a musical 3-band analog EQ, mic/line boost for low-level vintage synths and broadcast microphones, allnew digital effects with reverb and delays, Bluetooth connectivity, and a stereo SD recorder, this mixing and recording powerhouse fulfills the needs of both modern musicians and content creators.

$699.95

presonus.com/products/ StudioLive-AR16c

$219.99

v-moda.com/us/en/jimi-hendrix

GIK VISO Booth Vocal Isolation Booth The VISO Booth (Vocal Isolation Booth) is the perfect solution for musicians, voice-over artists, singers, voice actors, Podcasters and YouTubers. The VISO booth isolates vocals from the room, reducing the need to fix problems in post production and captures a more professional sound quickly and with less frustration. The slim and lightweight design makes the VISO Booth versatile enough to take with you anywhere, and adds aesthetic to any environment. The design ensures a large enough absorption area around the microphone coupled with high performance rigid fiberglass to eliminate the tone or noise captured from within the room effectively.

$119

gikacoustics.com/product/viso-portable -vocal-isolation-booth

December 2020

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Reftone LD-3B Bluetooth Ref-Cubes Speakers Attention engineers, producers, artists, musicians and content creators: Reftone Ref-Cubes now have 25W power and Bluetooth technology. These full-range speakers are small, convenient and handcrafted in the U.S. They’re the ultimate reference to make confident decisions during all stages of production, from tracking, editing, mixing to mastering.

$599

reftone.com/store/LD3B

Warm Audio WA-47 Jr FET Condenser Mic The WA-47Jr is an all-purpose microphone with crystal clear highs, powerful lows and a large soundstage, which ensures it sounds amazing on any source. It shares the same capsule as flagship WA-47 tube mic. The WA-47Jr is fully discrete, has 3 polar patterns and is designed for pro studio, home studio, live and broadcast applications. The WA-47Jr sounds great on vocals, acoustic/electric guitars, acoustic/electric bass, drums, piano, strings, brass/woodwind instruments, and an array of other audio sources.

$299

warmaudio.com/wa47jr

Yamaha FS-TA TransAcoustic Guitar

The Yamaha TransAcoustic FS-TA 6-string acoustic-electric guitar is a high-quality instrument that delivers a unique acoustic experience. With Yamaha’s onboard TransAcoustic reverb and chorus effects, enjoy the tones of playing in a rich and lively acoustic space no matter where you are. The FS-TA has a concert-size body with mahogany back and sides, and a solid Sitka spruce top. This guitar features fast-action neck and a smooth, bound rosewood fingerboard. The Yamaha TransAcoustic FS-TA will add new inspiration to playing.

$649.99

sweetwater.com/store/detail/FSTABS--yamaha-fs-ta-transacoustic-concert-brown-sunburst

AKG Lyra Ultra-HD Multimode USB Microphone The Lyra USB microphone from AKG is the perfect mic to get your podcast or streaming career off the ground. Capture crystalline vocals with 4K compatible 24-bit/192kHz audio resolution. The Lyra carries a 4-capsule mic array that allows you to record with four incredibly useful polar patterns. Thanks to the USB connection, users of all skill levels can record straight into their computer with no external mixer or interface required. The Lyra’s 3.5mm headphone jack allows for monitoring levels in real-time. Toggle the momentary mute switch to prevent unwanted interruptions.

$149

akg.com/lyra

December 2020

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Eventide Blackhole Reverb Pedal Explore unique soundscapes with the Eventide Blackhole reverb pedal. Create massive drones with two different types of infinite reverb, allowing you to layer sounds over a suspended reverb tail. Hi and Lo tone controls make it easy to fine-tune the reverb effect for any sound source. While the Blackhole’s pedal format makes it perfect for adventurous guitarists, its switchable instrument/line-level operation is ready for keyboards, synthesizers and drum machines. Complete with a software manager that makes it easy to create and save custom patches, a lifetime of sonic exploration awaits in the Eventide Blackhole reverb pedal.

$279

eventideaudio.com/products/stompboxes /reverb-pedal/blackhole-pedal

ILIO Overloud TH-U TH-U from Overloud is the world’s largest collection of models in a single software, boasting over 239 models of amps, cabinets, FX, and mics. The culmination of breakthrough DSP technology allows users to swap pre-amp tubes, power amp tubes, and even change the variac of the included amps. In addition, the included Rig Player captures the authentic personalities of real rig setups and reproduces their tones with unbelievable accuracy. With its simple user interface, speed-of-light preset preview, true amp-morphing and other features, TH-U is ahead of the guitar amp-simulation curve.

$299

ilio.com/overloud-thu

Tech 21 SansAmp PSA 2.0 The SansAmp PSA-1 was first introduced in 1993 and became a studio staple. Tech 21 has created a streamlined pedal version of the renowned rackmount. It offers the same operational simplicity, essential functionality and versatility as its predecessor. For use in studio and on stage, with any instrument: guitar, bass, drums, vocals, horns. Store and recall programs with 49 factory presets, 128 memory locations and all-analog and digital signal paths. Additionally, the PSA 2.0’s Performance Mode turns it into a 3-channel stompbox. The SansAmp features super simple custom programming: turn the knobs, hear the difference in real-time, push Save. Done.

$399 Yamaha DD-75 Digital Drum Kit DD-75 is a digital drum kit with eight touch-sensitive pads and two foot pedals. High quality drum and wide variety of percussion sounds from all over the world are mixed with orchestra voices to provide a wide range of musical opportunities. Connect an MP3 player and play along with your favorite music. Each drum pad is laid out like an acoustic kit, allowing for expressive drumming. DD-75 features a variety of Drum Voices from DTX series sounds, including modern rock drums and legendary rhythm presets. Hand Percussion Mode includes music genres from around the world, with Chinese, Indian, Middle Eastern and Latin Percussion Kits.

$319

usa.yamaha.com/products/musica _instruments/entertainment/dd-75

December 2020

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tech21nyc.com/products/sansamp/psa-2

Celestion F12X200 Modeling Amp Speaker (200 Watts)

Ibanez TMB100M Talman Bass Guitar The Ibanez TMB100M Talman Bass is a value-packed retrostyle bass guitar. Expect powerful, punchy tone from the poplar body and maple neck, while the maple fingerboard with 20 medium frets gives a solid playing platform. The Dynamix DXP and DXJ pickups on the Ibanez TMB100M Talman Bass are designed to bring the vibe of the most famous electric bass guitars in history, from the fat, thumping rock tones to soft, midrich R&B tones. Custom electronics with 2-band EQ give even more sound-shaping potential. Whether searching for an easy-playing first bass or a great backup, find it in the Ibanez TMB100M Talman Bass.

The F12-X200 is a dedicated guitar speaker for amp modelers and IRs. It’s truly a full range driver that delivers a frequency response from 60Hz all the way up to 20kHz. The higher frequency part of the signal is reproduced using a Celestion compression driver, which has been integrated using a high-quality crossover circuit. This enables the F12-X200 to reproduce the full spectrum of audible frequencies for the most accurate output possiblein any environment and set-up.

$175

celestion.com/product/200/f12x200

$199.99

ibanez.com/usa/products/detail/ tmb100_03.html

JBL EON ONE Compact PA The JBL EON ONE Compact packs a professionalgrade speaker, a full-featured 4-channel mixer and Bluetooth control into a compact battery-powered PA, weighing just 17.6 pounds. Premium effects and presets can be customized right on a phone or tablet using the JBL EON ONE Compact Control app—no engineer needed. Presenters, fitness instructors and emcees will appreciate EON ONE Compact’s ducking feature, which lowers background music volume when speech input is detected. Keep the party going long after the sun goes down with the tool-free, swappable 12-hour battery.

$549

jbl.com/portable-pa-systems JBL+EON+ONE+Compact.html

TASCAM Series 8p Dyna Preamp with Analog Compressor With superb audio specifications and connectivity, and featuring an outstanding microphone preamp, the TASCAM Series 8p Dyna is a great choice for both studio and stage. Housed in a rugged 1U rack-mount casing, its dual S/MUX optical ports make it a perfect expansion unit for a TASCAM Series 102i or Series 208i or other S/ MUX-equipped audio interfaces including ADAT, or use it as a standalone front end. Each Series 8p Dyna channel also features individually switched +48V phantom power for use with condenser mics, and an easy-to-use, single-control analog compressor with true bypass.

$499.99

tascam.com/us/product/series_8p_dyna/top

December 2020

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Bowie: Rayguns & How ToStardust, Make It In The New Moonage Daydreams Music Business, 2nd Edition By Allred, Steve Horton, ByMichael Ari Herstand (hardcover) $29.95 Laura Allred (hardcover) We said it $39.99 before and we’ll say it again: this is the terrific best book everbyabout how anAllred artist team should The artwork the veteran navigate his or her career in writing today’sfor music busiaccompanies Horton’s skillful a fantasness. Author Herstand an artist himself––he tic journey through DavidisJones/Bowie’s life and has been there, done that and gotten the t-shirt career, beautifully capturing his transformations (forhis sale at his merch table, course!)––and and influence. Panels andof text presenting he has plenty of inside advice on the do’sand and relationships don’ts of forging interactions witha successful DIYIggy music Marc Bolan, career. AddressPop, New York ingDolls, the most recent Lou Reed, changes in the music Ian Hunter and world, moreHerstand’s are gor- 2nd edition provides lots geously rendered of and fresh, cutting-edge compellingly information written. It’sincluding a joy for smarter, more efficient any rock & roll fan. techniques other And don’t that overlook artists have utilized its companion successfully. coloring book! –Fuxsia Black

Green Day Ready Steady Go!Gruen Photographs by Bob

(hardcover) $24.99 By Andy Neill (hardcover) $49.99 It’s been 25 years since the breakthrough album Dookie put rockers Day This is everythingpunk a tribute tomeGreen should be.on the map,ofand photographer Bob Gruen been Lots visuals for the lookyloos, and has plenty photosforofthose the band since. Green oftaking substance whoever dig deeper. The Day includes behind-the-scenes photos as well London-based Ready, Steady, Go! debuted concert theiran international tours, inasAugust ofimages ‘63 andfrom became essential TV manyforofthe which areconfident previously unpublished— ritual newly Brit teenager. Told with photographs from their Rock &from Roll inalong oral history style, with plenty of insights Hall of Fame Induction in 2015 and performers (Mick Jagger,Ceremony Pete Townshend, Ray in the recording Davies, Eric Burdon, Donovan, Andrew Oldham, studio.director The book Lulu) and presenters (Vicki Wickham, the full supMichael Lindsay-Hogg), and withhas a profusion port of the of color andband, with quotes and black and white commentary photos, the from Billie book also Joe Armstrong, includes a Tré Cool, and Mike detailed guide Dirnt throughout. to all 173 episodes. RSG! weighs a ton and is worth every ounce. By Travis Atria (hardcover) $27.99

Better Days Will Come: The Life of Arthur Briggs

Trap History “Genius of Harlem, Paris, and a Nazi Prison

Camp,” By A.R. Briggs Shaw was a man wrapped up in the swirling world of the Lost Generation and jazz in (paperback) $25.99 the 1920s––and eventually swept up by events Featuring interviews from artists such as T.I.,jazz out of his control. Briggs played with infamous Gucci Mane, and more, has luminaries likeJeezy Josephine Baker,Shaw Django Reindthe ultimate hardt and Sidney Bechet formulated at famous nightclubs like guide to trap music, the Moulin Rouge and its origins Most and impact. Bricktop’s. remarkSet in Atlanta, Shaw ably, the book recounts nottime onlyBriggs captures the spent in a the history and birth Nazi prison camp during of thiswhere once niche WWII, he formed a music trend, but also makeshift orchestra, playtheMozart, culturalBeethoven, nuances ing that underpin it. For Strauss and other clasanyone interested in sical pieces for the Nazi taking an analytical commanders until the look at hip-hop, liberation of Paris.this book is an ideal read. 20 18 December December2020 2019

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John Lennon: 1980 Musso & Frank GrillPlaylist By English ByTim Michael Callahan (paperback) (hardcover) $18.99 $40.00 InThis 1980, his final year, Lennon listened a eye-catching coffee-table tome is to a fitting wide range sounds and loved it venue all, with a tribute to a of legendary Hollywood whose playlist Noel Coward, historythat overincluded the pastBing 100 Crosby, years has, in many and even (gulp!)that Morris Albert’s schmaltz indusclasways, mirrored of the entertainment sic “Feelings.” Not try itself. The list of luminaries who have eaten mention Elvis at this earthy enterprise is to long and includes Costello, Vapors,is plenty of music biz superstars. Keiththe Richards Donna Summer, a Musso’s fan, and Tina Bobby weTurner, saw Neil Young Darin, thereChristopher one night at a Cross, Cars long the table withand his thewhole Fantastic crew,Planet Neil’s soundtrack. Most imvintage Cadillac portantly, hearse English’s parked outbook reveals what side. Lots of great thephotos, ex-Beatle coolhad quips to say these and about anecdotes artists, their makeand thishow elegant music in bookresonated a tasty dish. John’s life.

God Save the Queens: The AEssential Dolly forHistory Christmas of Women in By Kimberly Schlapman and Morgan Huff Hip-Hop (hardcover) $18.99

By Kathy Iandoli Little Big Town’s Kim Schlapman has teamed (hardcover) $27.99 with illustrator Morgan Huff for this sweet and colorfully homespun children’s “True Women in hip-hop have neverbook, been amore presStory a Fament or powerful than right now. Butof things didn’t ily’s Christmas start that way. Interviews include superstars like Miracle,” for kids Nicki Minaj and Lil’ Kim and underground artists 4 to Boo. 8. Piolike Remy Ma, Rapsody and aged Gangsta Schlapman shares neers Debbie D, Sylvia Robinson and Roxanne of the Shantéthe aretrue alsostory given the Christmas recognition they deserve. her books lone- on Unlike when previous some, only-child hip-hop, this one delivers daughter gotthe her the respect due to wishhave for femaleholiday artists who a little excluded sister and been largely familyIandoli became from itsthe history. aims towhole. empower future generations of female artists by showing them the rich history they have. By Adele Bertei

Peter And The Wolves (paperback) $18.98

Words and Music Into the Future: A Songwriting Treatise and Manifesto

An absolutely beautifully written autobiography. Growing up a troubled gay teen, Bertei realizes she can express herself as a singer. Meanwhile, Peter Laughner is the coolest guy in Cleveland, Bychews Michael Koppy but through his bands with the same (paperback) fiery passion$16.00 that he has for drugs and alcohol. When he nurtures Bertei with guitar lessons, Koppy takes a cold, hard look at the state of moral support and exposure to his record collecmodern songwriting and, well, let’s just say he tion, she blooms under the spell of Patti Smith, has some serious issues with it. Yes, he nitpicks Television, MC5, and he slags some beloved songs. And, yes, Roxy Music, Velvet you might disagree with his attitude toward the Underground and work of some revered The Stooges. This artists. But, then, if is a great memoir you’re honest with yourof the nascent self, you’ll admit that, Ohio punk scene here and there, the that spawned man has a cogent point Pere Ubu, DEVO, to make. Provocative Rocket From The to the max, and surely Tombs, and the funny at times, the book massively talented also offers Koppy’s yet doomed Peter opinions on how songLaughner. –David writing standards and Arnson our listening habits can be improved.

August 2020 December 2020 September November 2020 July 2020 2020

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– JONATHAN WIDRAN

POWDERFINGER PROMOTIONS powderfingerpromo.com

Top Indie Radio Promotion Firm: Since its launch in 1994, Powderfinger Promotions––named after founder David Avery’s favorite Neil Young song––has been one of North America’s most renowned indie radio promoters and PR firms, cultivating success for its artists via radio promotion, publicity and tour support via traditional and new media. The company has relationships with over 600 college, AAA, Americana, jazz and jam band stations, and hundreds of press contacts. Under Avery’s leadership, Powderfinger was voted the College Radio Promoter of the Year for two years in a row by CMJ New Music Report. The company also promoted the No. 1 jazz albums of the year at CMJ for three straight years, and has helped numerous artists chart in Relix/ Jambands.com, CMJ, Americana Music Association, NACC, FMQB AAA and other influential charts. Though Powderfinger has promoted projects for high-profile artists like 311, Moe, Steve Winwood, String Cheese Incident and Robert Randolph, their “bread and butter” is indie and unsigned acts––including The Dresden Dolls, Charlie Hunter Trio, The Sterns, John Brown’s Body and Michelle Shocked. Enduring Impact of Terrestrial Radio: Avery, who founded the Bostonbased company in 1994, before the onset of the digital and streaming age, shares an enduring truth about the way independent music reaches its targeted audiences: “Terrestrial radio doesn’t go away. For all the many times it’s been declared dead and irrelevant, and even though it’s no longer the exclusive arena for exposure, it’s still the primary avenue for music discovery, ahead of Spotify and YouTube. What hasn’t changed about our business is that it thrives on relationships and word-of-mouth. Our job on behalf of our clients is still to get people at community, college and indie radio stations to listen to and hopefully expose the music we send them. Radio remains the best way to drive people to live shows, still above Spotify and YouTube. And since the pandemic hit, we’ve seen a 10 percent uptick in listenership to these kinds of stations. With nobody able to tour, people are still hungry to hear new music.”

Organic Origins: Avery’s background includes a year of study at the University of Lancaster (England), a M.M. in musicology from New England Conservatory, two years of doctoral studies at CUNY Doctoral Center in NYC, being a radio DJ and serving as an AAA columnist for CMJ New Music Report. After working initially as music editor for Schwann Publications, he helped to promote a new album by a Boston-based friend of his. He put together a list of college radio stations, picked the brains of people running established music promo firms and started sending out CDs. When word got out about Avery’s initial success in this arena, other bands started calling him for promotion––and soon it dawned on him that he could develop and incorporate an official business. Publicity, Tour Support & Web Skills: Radio promoter and web developer Will Glass joined the Powderfinger team in 2014 and has since contributed to developing and updating the company website along with assisting in music promotions. Director of PR/Social Media guru Scott Feldman was the founder of D.I.Why, which brought common sense and measurable results to marketing and publicity via social media campaigns, PR, direct-to-fan integration and strategic marketing. Radio promoter Brett Wilson brings years of experience to the table as an artist, manager and record label owner who contacts radio stations, sets up interviews and offers quality advice. Contact Powderfinger Promotions, 800-356-1155 22 December 2020

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December 2020

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Avalanches and Bridges at Sunset Sound There is something astronomical about The Avalanches’ new album, We Will Always Love You, and it isn’t just the lead single “Interstellar Love,” which features Leon Bridges. The duo’s Robbie Chater met Bridges at Sunset Sound Studio in Los Angeles, and enthusiastically told him of the romance that exists in astrophysics.

Ola Runt: Harder 2 Kill Breakout Zone 6 Atlanta rapper, Ola Runt, is recording vocals on his latest release, Harder 2 Kill mixtape. As a teen, Ola’s father had a home recording studio built to keep him off the streets. The artist spent two years working and learning in the studio before releasing any music, which quickly gained attention from local artists and DJs. Earlier in 2020, Gucci Mane signed Ola to his 1017 label, and executive produced his recent release, Beggin For a Body.

Sumo Digital Equips with PMC Monitors The U.K. award-winning game developer, Sumo Digital, has expanded its audio facilities with 5.1 surround sound edit suites and a Dolby Atmos mix room in Sheffield, England. All of the new audio facilities are equipped with PMC monitoring, ideal for detailed production design, while replicable in home theaters and studios. Since Sumo Digital’s formation 17 years ago, they have worked on many major franchises, such as Sonic The Hedgehog, LittleBigPlanet, Forza, Hitman and Dr. Who.

Jesse Kivel’s New Feelings Dreamy pop singer-songwriter Jesse Kivel and his “studio assistant,” Russell, are seen in the New Feelings HQ in Owl’s Head, ME. Kivel’s children and family are present themes on the latest release, Infinite Jess, under his own New Feelings label. Kivel recruited help from friends in L.A.’s contemporary music scene: producer Joey Genetti, Sam Wilkes, Jeff Brodsky and Michael David.

Producer Playback “Get your band into a room where you’re not spending money. Make all your mistakes there. Try all the crazy ideas you might have.” – Rob Kirwan (PJ Harvey, Hozier)

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– JOSEPH MALTESE josephm@musicconnection.com

Nervosa’s Perpetual Chaos Perpetual Chaos, Nervosa’s upcoming album via Napalm Records, was recorded at Artesonao Casa de Grabación Studio in Málaga, Spain by Martin Furia, who also produced the new full-length by guitarist Prika Amaral. In the photo is guitarist Amaral and producer Martin Furia is at the board.

Jordan Riley Upgrades

Derek Day at Strawhorse Derek Day, the 24-year-old frontman of Classless Act with Slash’s son, London Hudson, has been busy writing, producing and touring on his own, including high-profile slots playing with Steve Vai, Living Colour, Steel Panther and Lynch Mob. Living Colour’s Vernon Reid served as a collaborator and producer on Day’s upcoming solo recordings. Shown (l-r): Reid, Day and engineer Thomas Ross Johansen, working together in Strawhorse Studios in L.A.

Producer and songwriter Jordan Riley has upgraded his private studio in London by installing a pair of PMC twotwo6 monitors. Riley moved to London from North East England six years ago to study at the Guildhall School of Music and Drama. He worked with musicians and played in church bands, mixing live sound and working in local studios, including Blast Recording Studios in Newcastle. “Using real instruments is important to me, and I hate being tied down to my laptop with presets that everyone else has,” he explains.

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School of Electronic Music

December 2020

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– JOSEPH MALTESE josephm@musicconnection.com

Jordan Riley Upgrades

WE’VE GOT THE PROS COVERED.

Superior PRO Look. PRO Build. Acoustic Treatments PRO Results.

AMBIENCE | BASS TRAPPING | ISOLATION

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School of Electronic Music

December 2020

musicconnection.com

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PRODUCER CROSSTALK

– ROB PUTNAM

MICHAEL STERN Maroon 5, Iron Man 2, “I’m Standing With You”

roducer and engineer Michael Stern fell in love with music when he discovered the guitar in high school. A graduate of Berklee with a degree in production, he moved to Los Angeles in 1990 and landed a gig at Chick Corea’s Mad Hatter Studios. He soon found that film and TV scores were his calling and he’s helped to craft the sonic shape of films such as Iron Man 2 and The Notebook. With respect to records, he’s worked with Maroon 5 and Foghat, among other bands. Recently Stern was tapped by noted composer Sharon Farber for an ambitious and timely project: a cover of Diane Warren’s Oscar-nominated “I’m Standing With You.” The song and video were built upon remote contributions from 173 different artists. All services benefitted the United Nations Foundation’s COVID-19 Solidarity Response Fund. “[The song] is the biggest of its kind, so it presented unique challenges,” Stern says. “More ...lessons he’s learned as a than 90 percent of it was cell phone producer and engineer are: recordings and there was no synchronization. The musicians had a • Be properly paired with an count-off bar and [were asked] to clap artist and understand his or or snap at the downbeat. I’d then fly it her style. I produced Rosemary Butler’s You Just Watch in and synchronize it. In terms of techMe in 2013 and could hear the nical demands for each track, I had to tracks fully done in my head change the time to make it sound like before we finished them. an ensemble performance, and AutoTune was used extensively.” • Understand the needs of the With nearly 200 self-recorded music in terms of the studio tracks, there was a wide variation in required. That’s usually quality and levels of ambient noise. driven by budget and size of “People were doing these in their living the ensemble. rooms, so there were things like dogs • Many people under-budget barking,” he recalls. “One cello track time for editing and mixing. had a thunderstorm raging about as That’s a tragic mistake. loud as the cello. Audio forensics was a huge part of this job. I called iZotope in Boston, which is the premier sonic-restoration company. They provided me with their RX7 Advanced sonic restoration suite. I used the low-pass filtering to get rid of the grainy nature, and the track became pleasant.” For most engineers, working almost exclusively with cell-phone audio isn’t exactly de rigueur. Accordingly, not only did Stern bring knowledge and experience to the project, but he also drew lessons from it. “People are constrained by wanting the video to look a certain way, but in general, it’s better to have whatever device is being used as far away [from the source] as is comfortable,” he suggests. “Because of the nature of the treble in the upper mid-range of these recordings, the farther away you have it, the sweeter the tone is going to be. As best as you can, simulate the quiet and clean environment of a recording studio.” Remote recording has soared in the wake of the COVID-19 lockdown. Will artists immediately rush back to studios? “It’s here to stay,” Stern asserts. “It will only get more popular because it’s fun. I got a call from a church in San Diego [to do a remote session]. There was also one completed by a high school choir near me that was tremendously well done. People will do it for the foreseeable future.” When Music Connection spoke with him, Stern had nearly completed the mix and co-production of Michael Allman’s (son of Gregg Allman) Blues Travels Fast. He was also engrossed in his own record Songs in the Key of Spin, which he aims to release sometime in 2021. Visit facebook.com/michaelsternproductionsLLC Contact mikesternaudio@gmail.com

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PRODUCT PROFILE

– STEVE SATTLER

AUDIX A150 AND A152 STUDIO REFERENCE HEADPHONES

arlier this year at the 2020 NAMM show, AUDIX previewed four new studio reference headphones: the A140, A145 and the top of the range A150 and A152. What I was able to check out at the show looked and sounded great, but were pre-production versions, so I was happy when AUDIX sent me the actual production versions of the A150 and A152 headphones to review. Both the A150 and A152 are dynamic closed-back studio reference headphones built for professional use. While the A150 and A152 headphones look identical and share similar specifications, the main difference between the A150 and A152 is the A150 is designed for studio tracking, editing and playback applications

Specifications for the A150 include a 50 mm driver size, 10 to 30 hertz frequency range, sensitivity (@1k) up to 103 decibels at 30 ohm impedance. Specifications for the A152 are almost identical to the A150, except the frequency range on the A152 is 8 to 28 Hertz, allowing for the increased bass response. Both the A150 and A152 feature an eighthinch detachable connector allowing you to detach the cord from the headphone. This is a great feature and allows the headphones to be taken off your mixing desk when not in use. The detachable cord feature makes a big difference, for example, in my home studio where available desk space is at a premium. AUDIX offers two optional detachable headphone cables made

High-end detail and low-end response on both the A150 and A152 is clear and color neutral. Midrange response is similarly clear and accurate. All the vocal source material I tested sounded natural and accurately reproduced what I was recording and playing back through them. Both the A150 and A152 provide an impressive degree of sound isolation and noise cancelation and have great stereo imaging. In my recording workflow I tend to use my headphones for comparison reference between my studio monitors and my headphones for my final mixes, as opposed to tracking and mixing by headphones. For me, personally, the A150 would serve my needs for an accurate mixing tool. The A152, on the other hand, provide an

while A152’s extended bass range lends itself more to music where there is serious sub-bass material in the mix. Both the A150 and 152 are solidly constructed and come packaged in a lightweight yet sturdy vinyl-mesh protective storage case. Both the A150 and A152 feature an overthe-ear design. The headphone cups on both units are soft and well cushioned. The headphone cups are a little larger than some competing headphones in this price range, which is a good feature given the diverse ear sizes that will be wearing them. Both the A150 and A152 evenly distributed the weight of the headphones on my head and felt great right out of the box. There is enough thick padding on the headband of both headphones to make sure they are comfortable for extended listening sessions. Both ear cups on the A150 and A152 are mounted on a 90-degree swivel, allowing for easy single-ear monitoring.

from 1.8M high density 3 conductor, 200 or 800 strands of 4 or 8 core OFC cable for those customers purchasing an A152 for audiophile applications. An optional headphone extension cable is also available. The A150 is designed to be a “go-to” headphone for home and professional studios. The A150 will, I am sure, be equally as good for mixing when you are on a remote or out of the studio. Sound designers, film editors and composers whose final mixes need more of a cinematic bass response will want to check out the A152. The A152 will also appeal to gamers. For pure listening enjoyment, the A152 has specifications that compare favorably with many high-end audiophile headphones on the market prices for which can easily top $1,000. I tested both headphones with a variety of source material ranging from prerecorded stereo tracks to acoustic and electric guitars, keyboards and bass, both modeled and live.

interesting contrast to what I was hearing out of my studio monitors, but between the two probably not what I would want in my workflow, as it’s harder to judge how much low-end bass will translate to my final mixes. To be clear, this is just my personal preference and whether the A152 is right for you will depend on your personal preferences, styles of music you are recording, etc. Bottom line: I really like the AUDIX A150 and A152 studio reference headphones. They both do exactly what they are supposed to do with no surprises. Both the A150 and A152 sound great, are comfortable to wear for extended listening sessions and offer features and specifications that are on par or better than any professional headphones in this price range. The AUDIX A150 and A152 Studio Reference Headphones have a MAP price of $249 and are available now. Find out more at AUDIXusa.com

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– ANDY KAUFMANN post-production. It was generally independent films. Obviously, studio movies have their own in-house lawyers, but if it’s an independent film we’ll do everything from soup to nuts. We’ll set up all the unit agreements with SAG-AFTRA, the Writers Guild, Directors Guild, as well as contracts for all the producers, associate producers, directors and at times we’re also involved in acquiring the actual property. Maybe it’s a script that we need or it may be the adaptation rights to a book. When the film is done, we’ll handle post-production as well, which is usually the composer deals and/or music synchronization for any pieces of music they want to license. It’s almost like one-stop shopping because otherwise you’d need different people for different things.

Helen Yu Principal Yu Leseberg

Years with Company: 21 Address: 1645 N. Vine, Penthouse 1002, Los Angeles, CA 90028 Phone: 310-286-7667 Fax: 323-817-4156 Web: yuleseberg.com E-mail: helenyu@hyulaw.com Clients: Snoop Dogg, Gerardo Ortiz, YG, DJ Mustard, Joan Sebastian, Silent Giant Entertainment, Ty Dolla $ign BACKGROUND Recently named one of Billboard’s Top Lawyers of 2020, Helen Yu has been serving the entertainment community for more than a quarter century. Having strategized deals resulting in scores of No. 1 hits, her abilities have significantly impacted the direction of hip-hop. Also notable is her representation of some of Latin music’s biggest stars, such as Gerardo Ortiz and Paulo Londra.

“I’m not [a fan of] getting into business with people who like to take shortcuts, thinking that’s the way to win. That’s really important to me.”

Cultural Expectations I started off life as a musician. But having a nice Asian family, they were like, “What? That’s not happening. That’s not something we can support.” That’s how I ended up getting into entertainment law. I said, “Hey, I can at least be involved.”

The Label Experience Advantage I worked at a couple labels. It gave me perspective on what they do––how every department works, the flow of management, of projects, of talent, of marketing, of promotion, all that stuff. I started off at Enigma Records, which was an alternative rock, punk and new wave label. My first label job was at Virgin Records America. Back in the day, they had everything––The Rolling Stones, Janet Jackson, Ice-T... They had everything going on back then. Now, when [clients] don’t understand (“Why can’t the label do this?” Or, “What’s the label doing here?”), it’s really helpful because I can give them insight. Most of the artists I have worked with don’t understand corporate structures and certainly have never worked at a record company. Referrals and Reputation Usually, my clients find me on a referral basis. If you do good work, then other people say, “Hey, she does great work.” Even people I’ve done transactions on the opposing side will say, “Wow, we really like the way you work. Can you represent us?” That’s a real compliment. Positive Client Qualities I look for people who make great music and have great talent. That’s the number one thing. I also like to work with people who have integrity and honesty. I’m not [a fan of] getting into business with people who like to take shortcuts, thinking that’s the way to win. That’s really important to me. And I look for someone who works harder than me. I want an artist who wants to win at a very high level. They’re constantly working and doing what needs to be done to propel their careers forward, because it’s part of who they are. It’s in their DNA. 28 December 2020

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Finding and Quizzing Attorneys Ask for referrals from friends. Obviously, there’s good old Internet research. Read Music Connection and just find out about the industry. Ask what kind of experience they’ve had, what kind of deals they’ve done. Those are the main things. The other part is you have to get a feel. Does that person’s point of view and ethics vibe with you? It’s a business [where] a lot is based on gut feeling and intuition. Take that energy and put it into––does this feel right to me? Does this person seem like they have integrity and they can accomplish what I want? And if you see any red flags, even if your friend says, “Oh, so and so’s good,” listen to your instincts. Estate Recovery Is a Sub-Specialty I’m really proud that I recovered the estate and copyrights of Marc Bolan and T. Rex. That took years of my life, but I was able to recover various copyrights and quite a handsome sum. Generally speaking, recovering copyrights for estates and those kinds of things, that’s a real sub-specialty. Very few lawyers have the ability and knowledge to do that. It takes highly specialized knowledge and an understanding of international income, international copyright laws... 90% plus of the lawyers out there haven’t focused on this very complicated, technical area. It’s a specialty within a specialty. In-House Music Publishing I’ve been doing [North Hudson Music] for over 20 years. That also requires specialized knowledge because you have to understand international collections in every territory. You have to have the relationships. And you have to understand how publishing works. There are many types of streaming income and it’s getting ever more complicated. It’s a lot of work. Some lawyers try, but without real knowledge and dedication, most are not successful. I keep it very small. Serving the Film Industry When I worked at Sony Pictures, I worked in

Virtually No Virtual Reality At first, we were licensing a lot of content with virtual reality companies. We’re doing less and less of that type of thing. Most of that stuff, it seems, they’re doing in-house. They’re creating their own content. There’s not as much licensing work in those kinds of things as there was when VR first started happening.

Where To Score Synchs There are entire sales companies whose job is to pitch or get breakdowns on what people are looking for in production. The other way is to get in touch with people who have music libraries. Believe it or not, television needs a lot of music. Not all the music can be expensive, well-known hit songs. They’re going to get some, but only the top shows have really big budgets. Otherwise, you have to bring music in for a reasonable amount. Lockdown Mania Believe it or not, I’ve been busier during this time because clients have been on lockdown and everybody has a home setup. People make most of their music at home on their computers and guess what––they need legal work and agreements and clearances to get the music out. It’s been a bit overwhelming. You’re not in your office environment, so you don’t have everything and everybody’s a bit slower, but I’m okay with it. Contracts First Attorneys review and negotiate contracts. Lawyers aren’t managers. So the best time to get in touch with a lawyer is when you have a contract. Making a Difference I had one situation where [a songwriter] was leasing their home. They were going to get kicked out and the owner wanted to sell. They didn’t know what to do and I was able to help. Not only did it affect that writer, it affected that writer’s entire family. That felt really good. It’s a service business and I try to make a difference in people’s lives. The Key Is Persistence Have dedication. Believe in yourself. Work hard. Be good. And don’t give up the dream. Forget about the naysayers, whether they’re outside people or voices in your head where you beat yourself up. You’ve just got to stay the course. And if you stay the course, you can accomplish anything.

– BRETT CALLWOOD

OPPS

Cal Heights Music in Long Beach, CA is looking for a Music Teacher. Energetic, enthusiastic and passionate music teachers should apply. Cal Heights is keen to stress that they focus on making music fun, and want teachers that follow along with that ethos. Great communication is necessary as well as the ability to be punctual. Applicants should be local to avoid issues with commuting. Apply via Barefoot Student. Confidential in Los Angeles Seeks a Head of Music. Confidential is a small group of entertainment executives who have joined forces to launch a new entertainment platform/marketplace. They want a partner to head the music division. Candidates with extensive experience in the music industry and lots of contacts should apply. The platform is built and going through testing. Apply at Entertain mentCareers.net. Playlist Push Seeking an Account Manager—Music. Playlist Push aim to give artists the power to take their own music to millions around the world. The company’s goal is to build a new kind of organization, creating new tools to help bands and artists thrive. Responsibilities of the account manager are listed as, “Provide dedicated account management to artists, labels and our partners; Guide artists and customers through the Playlist Push platform. A+ customer service is the core of our business; Develop programs and

DIY Spotlight

identify opportunities to improve the client/artist experience; Consult and coach artists to achieve greater results on Spotify; Work cross-functionally within sales, marketing, and our developers to guide our artists to success.” Apply at LinkedIn. Universal Music Group Seeking a Manager, Label Operations. Capitol Music wants a manager of label operations to be part of the Caroline team in Hollywood. Caroline is the independent services department of Capitol, providing services including Marketing, Promotion, Commercial Development, Branding, Synch & Licensing, Lifestyle Marketing, Business Affairs, and Finance. The manager of label operations will work with the director of label operations with day to day and liaise with production. “The candidate would be responsible for creating and communicating a timeline of deadlines across all aspects of the business, monitoring production timelines, maintaining release schedules, and inventory flow with a larger logistics team.” Apply at Jobvite.

LABELS•RELEASES SIGNINGS

Rhino Entertainment, the catalog label that is part of Warner Music Group, has reunited with Avenue Records for a worldwide licensing deal. That deal will include recordings by WAR, Eric Burdon, Jimmy Witherspoon Blood, Sweat & Tears, Redbone, Circle Jerks, Funkadelics, and New Riders of the Purple Sage. “I could not be hap-

Move On with Juana Everett Spain-via-L.A. singer and songwriter Juana Everett will release her new album Move On on Jan. 22, which sees her blend punk, rock and Americana. Many of the songs were written as she was moving from her home in Spain to Los Angeles. pier to announce Avenue Records’ return to Rhino. I had the pleasure of working with Jerry Goldstein and Glenn Stone on many incredible projects in their previous time with us and know we will achieve even greater heights with this new partnership,” says Rhino President Mark Pinkus. “WAR’s music continues to endure 50 years later, and I look forward to perpetuating their incredible legacy with great releases while also connecting the band’s legendary catalog of hits with new fans around the world.” Contact jessica.giordano@rhino. com for more info. Atmospheric black metal Fuath has signed to Season of Mist. The black metal offshoot of

SOAR’s Andy Marshall started as a one-off project with the release of debut album I in 2016, but will follow up with II in 2021. “It’s an honor working with Season of Mist once again and I can’t wait to unleash the new album,” said Marshall. Contact katy@season-ofmist.com for more info. American Teeth has signed to Fearless Records. American Teeth has released a new single, “Barred Out,” featuring Twin XL. “‘Barred Out’ is about ending a relationship and wondering if you made the right decision because the emotions of the aftermath are so strong that you want to numb them out completely,” says Elijah Noll. Contact amy@ atomsplitterpr.com for more info.

JUDY WHITMORE

Judy Whitmore says she always wanted to go into music. She had an audition when she was 18-years-old, in fact, but her mother made an executive decision. “I was in my first year of college,” Whitmore says. “I was auditioning for a group of singers, and I was so excited. I thought I had done really well and was living at home with my parents. I asked my mom if they called, and she said they did and I didn’t get it. I was so sad. I didn’t find out until many years later when I had two little children––my mother told me that I did get the audition, but she didn’t want me to do it so she told me no.” So it’s fair to say that Whitmore’s parents were not supportive, and she ended up taking her life in another direction entirely. But the whole time, she missed singing. “I was in New York with a friend of mine and we had been taking singing lessons together,” she says. “We put on a show and, after we did, we gave a couple of recitals. We were walking down the street in New York and she said that we could rent Carnegie Hall. I asked her who would come, and

she said tourists like to come to Carnegie Hall. People came, we were shocked. We started singing in clubs, and I was ecstatic that we were doing the thing I wanted to do all my life.” “We had a great time,” she says. “About two years ago we said it’d be interesting to see if we could go off and do something on our own. I wanted to do an act by myself.” Whitmore is now a solo artist, occasionally performing with her brother. Her debut solo album, Can’t We Be Friends, was released on Nov. 18 along with the “New York Medley” single. “I really loved singing as a group,” Whitmore says. “You get to do tight harmonies that you obviously can’t get on stage by yourself. I miss that. But I love being by myself. I sort of tell the story of my life, and all the different careers I’ve had, the different places I’ve lived, and interweave it with music. I feel like I have control of the stage, and I like that. I go at my own pace, and I get to choose all the songs myself.” Visit judithwhitmore.com for all the info.

December 2020

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– BRETT CALLWOOD

PROPS

public, third-party music analytics platform partner. A new integration, they say, lets Chartmetric reveal a market-level view of millions of artists and tracks, that dates back to 2005 and will be ongoing on a daily basis. “In addition, Pandora 28-day unique listener counts, daily/lifetime station adds, and daily/lifetime stream counts will be available at the artist level and track level.” Contact christine@rockpaperscis sors.biz for more info.

Taylor Swift has achieved 12 new RIAA certifications. Among those many awards, the 2020 Folklore album has achieved gold and platinum status. Swift’s “You Need To Calm Down” minted tripleplatinum, “The Man” certified gold and platinum, and “Me” [feat. Brendon Urie] now double-platinum. The single “Lover” picked up gold, platinum, and double-platinum certifications. Contact sydney.fein berg@umusic.com for more info.

Broad music coalition sends letter to Amazon’s Jeff Bezos regarding Twitch’s music licenses. The letter was sent to journalists on Oct. 26, and reads: “We are confounded by Twitch’s apparent stance that neither synch nor mechanical licenses are necessary for its Soundtrack tool. We are further concerned that Twitch continues to host and widely make available unlicensed music on its platform despite the company’s announcements, most recently in June 2020, that it would remove such unlicensed music.” Contact RecordingIndustryCommunications@riaa.com for more info.

Kane Brown was awarded three BMI “Million-Air” certificates. The award recognizes that three of Brown’s songs logged over one million broadcast performances each. “Good As You” received a certificate for one million, “Lose It” logged two million, and “What If” reached three million performances. Contact allen.brown@ sonymusic.com for more info.

THE BIZ

Chartmetric and Pandora have launched a new partnership. Pandora became Chartmetric’s first

The LEGAL Beat

Ananya Says Everybody’s Lost Multi-platinum pop star Ananya released a new single and video called “Everybody’s Lost” at the start of November. She recently became the first Indian artist to be played on Top 40 U.S. radio with the release of “Let There Be Love.”

ED SHEERAN’S COPYRIGHT DISPUTES

BY GLENN LITWAK

There is another copyright case involving Sheeran. The case involves allegations that Sheeran stole “Shape of You” from an older song called “Oh Why” by Sami Chokri, aka Sami Switch. Because of this dispute, royalties on “Shape of You” were not paid to Sheeran, so he filed a lawsuit in 2018 in a London court. The lawsuit has been pending ever since. In 2019, an issue arose about

Ed Sheeran has been a party to a number of copyright infringement cases in recent years. In general, many copyright cases involving music are frivolous, some are settled and others go to trial. There is a copyright case pending in New York filed by the Ed Townsend estate against Sheeran. It was set for trial during November of 2020 but the case was continued until 2021 because of the Coronavirus. In that case the plaintiff alleges that Sheeran’s 2017 hit song “Thinking of You” was stolen from Marvin Gaye’s hit “Let’s Get it On.” Townsend was one of the co-writers of “Let’s Get it On.”

(called interrogatories), requests to produce documents and take depositions of parties and witnesses with a court reporter making a record of the testimony. In the London case, the discovery dispute arose when Sheeran was presented with discovery requests trying to show that his camp has engaged in a pattern of ripping off other people’s songs. The question,

Be careful about accepting submissions by unknown songwriters. Research the reputation of the people you are dealing with. whether or not the Chokri-related parties could enter evidence that Sheeran and the other songwriters had ripped off other songs. This was a tactic to try and prove that stealing elements of songs was a pattern with the Sheeran team. Another interesting issue that arose in the London case was during the “discovery” part of the case. Discovery is where each side in litigation is entitled to seek information from the other side. For instance, you could serve written questions to the other side

I believe, was whether or not seeking information about Sheeran possibly stealing from other songs was relevant. Discovery disputes are very common in litigation and can greatly increase an attorney’s fees. Attorneys generally try to resolve discovery disputes themselves, but if that does not work out, they can file a motion. Sometimes the court will grant a motion and even impose sanctions (monetary penalties) on the losing side. The sanction

can be based on the attorney’s fees incurred by the winning party in bringing the motion to compel discovery. Sanctions can run thousands of dollars. Apparently because of the Coronavirus, the London case will not be tried until 2022. So what can a songwriter do to protect against such claims? Of course, any new song should be copyrighted with the U.S. Copyright Office. But what else can you do? Be careful about accepting submissions by unknown songwriters. Research the reputation of the people you are dealing with. And if you submit a song to someone, make sure you have evidence of what you submitted, when and to whom. Keep records of when you created your song. GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@ gmail.com or visit glennlitwak.com.

This article is a very brief overview of the subject matter and does not constitute legal advice.

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– BRETT CALLWOOD

I Quit My Day Job Because I Make More Money From My Music. Matthew Vander Boegh, TAXI Member

hat’s every musician’s dream, isn’t it —quitting your day gig because you make more money with your music. Well, that’s my life now, and here’s how I did it…

I joined TAXI. Looking back, I wish I’d joined years earlier. TAXI taught me how to create music that people in the industry actually need. Then they gave me 1,200 opportunities a year to pitch my music!

My income keeps growing exponentially, and my music keeps getting better because it’s my full time gig now! Here’s the ironic part… I live in Boise, Idaho, not Hollywood, yet my music is on TV nearly every day. My studio is in a glorified tool shed in my backyard, and my gear setup is so quaint other musicians ask, “Really? That’s it?!” I’ve got a computer, monitors, a few mics, and a cheap little interface. No fancy outboard gear, no rack-mounted anything!

My Two Secret Weapons Targets and deadlines are my secret weapons. Knowing who needs music and when they need it motivates me to get things done. It’s changed my life! Actually, TAXI changed my life.

I’m getting paid for my music now instead of sitting on my couch dreaming about it. I’m my own boss, and some day my music will probably pay for my retirement, a vacation home on an exotic beach, and some umbrella drinks!

Don’t wait until you’ve built a catalog… Join TAXI now and let them help you build the right catalog! Be patient, be persistent, and you’ll hit critical mass like I have. My income keeps growing every year! I’m all the proof you need that a regular guy can make enough money with his music to quit his day job! Do what thousands of other musicians have done to become successful—join TAXI. You might never have to work another day gig in your life!

It Didn’t Take That Long I promised myself I’d quit my job as a college professor when my music income became larger than my teaching income. I reached that goal in less than five years because of TAXI. The World’s Leading Independent A&R Company

1-800-458-2111 • TAXI.com

December 2020

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18TH & ADDISON Pop-Punk Toms River, NJ

18thandaddison.com

LIVE UNSIGNED ARTISTS & BANDS THE BONNER FAMILY Inspirational Provo, UT

bonnerfamilymusic.com

Alternative Colorado Springs, CO Instagram@iam30music

CHERRY JUICE

Pop Los Angeles, CA facebook.com/cherryjuicemusic

ALIX

Pop/R&B Bay Area, CA alixmusic.com

AMBAR LUCID

Pop, R&B, Alternative, Indie Little Ferry, NJ soundcloud.com/ambarlucid

ANTHONY LAZARO

Pop/Singer-Songwriter Hamburg, Germany anthonylazaro.com

ARIELLE SILVER

Americana Los Angeles, CA ariellesilver.com

ATOMICALIFORNIA

West Coast Hip-Hop /Christian Rap Los Angeles, CA Instagram@atomicalifornia

AVA MAYBEE

Alt-Pop/Indie-R&B Los Angeles, CA avamaybee.com

BATTERI3

Hip-Hop Blythe, CA Instagram@batteri3.raps

BETH SNAPP

Pop/Americana/Folk Tri-Cites, TN bethsnapp.com

BLACK CASTLE

Funk/Soul Los Angeles, CA blvkcvstlemusic.com

BLAKE ENGLISH

Pop-Punk Los Angeles, CA

blakeenglishworld.com

BLAKE & MILES

Hip-Hop/R&B Los Angeles, CA

soundcloud.com/blakeandmiles

CIRCULINE

Progressive Rock Red Hook, NY circulinemusic.com

CLIFF EBERHARDT Folk Williamsburg, MA cliffeberhardt.net

COREY ROBINSON R&B/Soul Los Angeles, CA

coreyrobinsonofficial.com

CRIMSON SKYE

Singer-Songwriter Bakersfield, CA facebook.com/crimsonskyesounds

CROOKED EYE TOMMY Blues/Southern Rock Nashville, TN crookedeyetommy.com

DON HENRY

Americana Nashville, TN donhenry.com

DOWN NORTH Rock/Soul Seattle, WA

downnorthband.com

THE DRYES

Country Nashville, TN thedryes.com

DUSTY LEIGH & THE CLAIM JUMPERS Country/Americana Kuna, Idaho dustyleigh.com

EALDOR BEALU

Progressive Heavy Psych Boise, ID m.me/ealdorbealu

EAGLE CLAW Heavy Rock Austin, TX

eagleclawhurts.com

32 December 2020

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FRANCIS AUD

Pop-Funk New York, NY

JESSE PALTER

Jazzy Pop-Rock Los Angeles, CA jessepalter.com

francisaud.com

JESSIE WAGNER

FRND

jessiewagnerofficial.com

facebook.com/frnd69

JOHN ZIPPERER

Pop Los Angeles, CA

GALACTIC COWBOY ORCHESTRA Rock Fusion Minneapolis-St. Paul, MN

galacticcowboyorchestra.com

GAVN!

Pop/Hip-Hop/Emo Seattle, WA soundcloud.com/whereisgavn

Dance Pop/R&B New York, NY

Americana Canoga Park, CA johnzipperer.com

JONELL MOSSER

Blues/Pop/Rock/Americana Nashville, TN jonellmosser.com

JONO DORR

Singer-Songwriter Los Angeles, CA

HAL HENKEL & THE FLYING CAMELS

Instagram@jonodorrmusic

facebook.com/haroldhalhenkel

Pop/Pop-Rock Boston, MA

Eugene, OR Blues, Rock, Funk, Jazz

HEAD HONCHOS Rock, Blues Valparaiso, IN

theheadhonchosband.com

HIGH SOCIETY HOMELESS Rock Los Angeles, CA

highsocietyhomeless.com

IDECLINE

Punk Santa Barbara, CA

facebook.com/ideclinepunx

INSECT SURFERS

Psychedelic Surf Soundtracks Los Angeles, CA insectsurfers.com

ISOLDE FAIR

Singer-Songwriter Los Angeles, CA isoldefair.com

JAMES SUPERCAVE Alternative Rock Los Angeles, CA

jamessupercave.com

JANGLING SPARROWS

Roots-Rock/Americana Asheville, NC janglingsparrows.com

JAYQ THE LEGEND Rap/Hip-Hop Beverly Hills, CA

youtube.com/channel

KAYLEE FEDERMANN kayleefedermann.com

KELSEY ROSE

Rock, Country, Pop Detroit, MI kelseyroserocks.com

KERRY PATRICK CLARK Americana Ohio

kerrypatrickclark.com

KETSYHA

R&B/Soul Trujillo Alto, Puerto Rico ketsyha.com

KID QUILL

Hip-Hop Indianapolis, IN kidquill.com

LAUREN PRATT

Americana/Folk Nashville, TN

laurenprattmusic.com

LISA FINNIE

Americana Los Angeles, CA lisafinnie.com

LOVEYDOVE

Psych Pop Los Angeles, CA loveydove.bandcamp.com

Music Connection’s Hot 100 list is our annual opportunity to spotlight artists whose live performance talent made a special impact on us over the past 12 months. Despite the COVID pandemic’s devastating effect on music venues, artists all over the U.S. have been able to take hold of the livestreaming format and make it work, and we have covered their performances avidly. Those involved in determining the results of our 2020 list include not only MC staffers, but club bookers, managers, A&R reps and other industry pros throughout the country. To arrange a free livestream or (hopefully soon!) live review of your act, sign up at: musicconnection.com/reviews/live-reviews

SLACK TIDE

LONE KODIAK

Indie-Rock/Alt Los Angeles, CA lonekodiak.com

M DOT TAYLOR Rap Detroit, MI

Instagram@mdottaylor

MAJOR MOMENT Rock Boston, MA

majormomentband.com

MATING RITUAL

Rock Los Angeles, CA

matingritualsounds.com

MASON SUMMIT

Indie-Rock Los Angeles, CA

masonsummit.com

MIDNIGHT RADIO CONFESSION Rock Milwaukee, WI

facebook.com/midnightradioconfession

MIKNNA

Soul/R&B/Hip-Hop Los Angeles, CA miknna.com

MOLLY HANMER & THE MIDNIGHT TOKERS Americana Los Angeles, CA mollyhanmer.com

MOUNTAINS LIKE WAX Indie/Alternative Nashville, TN

mountainslikewax.com

MUHAMMAD SEVEN & THE SPRING Rock Boston, MA

muhammadseven.com

NAMEK

PERPETUAL GROOVE

Jam Boston, MA • New Hampshire

pgroove.net

SLEEPER SIGNAL

Jam Band Athens, GA

PEST

Hard Rock/Punk Rock Los Angeles, CA facebook.com/pestrockband

POPPYIRIS

Country Nashville, TN poppyirismusic.com

PLUTO MONDAY

Drum & Bass, Chillwave Grand Rapids, MI plutomonday.bandcamp.com

SULACO

Death Metal/Grindcore Rochester, NY m.me/sulacoband

SWEETTALKER

Psych/Pop/Rock Nashville, TN sweettalker.co

SYLO NORZA

Soul/Alternative R&B Toronto, Canada

Instagram@resilia_music

TALLER THAN TREES

REUEL

Popular/Classical Las Vegas, NV reuelmusic.com

ROCKET

Rock Hollywood, CA thebandrocket.com

ROYALBABY

Pop/Alt-Pop Richmond, VA iamroyalbaby.com

SAMA DAMS

Avant-Folk Portland, OR sama-dams.com

SEPTEMBER MOURNING

Hard Rock, Gothic Metal Los Angeles, CA septembermourning.com

SHAELYN ROLF

Pop, Blues, Rock St. Louis, MO

NATALIE GELMAN

Pop/Hip-Hop Los Angeles, CA

nataliegelman.com

sleepersignal.bandcamp.com

soundcloud.com/sylonozra

shaelynrolfmusic.com

Indie-Folk Ojai, CA

Hard Rock/Metal Nashville, TN

RESILIA

Post-Hardcore, Swancore Los Angeles, CA

West Coast Hip-Hop Los Angeles, CA Instagram@namek626

slacktideofficial.com

SHUBA

shubaofficial.com

THE NATURAL SUPERNATURAL Psych Rock Los Angeles, CA

thenaturalsupernatural.com

THE SOMETIME BOYS Folk/Americana Brooklyn, NY

thesometimeboys.com

THE WORLD RECORD Los Angeles, CA Power Pop

theworldrecord.net

TIDAL BABES

Beach Pop-Rock Los Angeles, CA tidalbabes.com

TIFFANY ASHTON Country Nashville, TN

Alternative Spanglish/ Rock/Pop/Indie Boston, MA

tiffanyashtonmusic.com

TED RUSSELL KAMP

New Age/Ambient/Acoustic Portland, OR

TODD BOSTON

Instagram@tallerthantreesmusic

Americana/Country /Southern Rock Los Angeles, CA tedrussellkamp.com

THE BRIAN O’CONNELL FELLOWSHIP Prog/Fusion/Jam Boston, MA

brianoconnellfellowship.com

THE DIRT FISHERMAN Rock Boise, ID

m.me/thedirtfisherman

toddboston.com

TOMASINA

Rock Los Angeles, CA tomasina.net

TRAP GIRL

Punk Los Angeles, CA

trapgirl.bandcamp.com

Rock Santa Rosa, CA vsquared.rocks

THE HELL TOUPEES

VITAL SPIRIT

Punk Ventura, CA

Black Metal Vancouver, BC

facebook.com/nopotus

THE KEY OF F

Rock Los Angeles, CA

vitalspirit.bandcamp.com

WILEY WATSON Alt-Pop/Rock New York, NY

facebook.com/band.thekeyof.F

THE NOBLE PRIX

Modern Garage Rock Burbank, CA Instagram@thenobleprix

wileywatsonmusic.com

WOUTER KELLERMAN

World/Roots Johannesburg, South Africa wouterkellerman.net

COMPILED & ORGANIZED BY MARK NARDONE December December2020 2020

musicconnection.com

Songwriters Hall of Fame

Willa Amai is “What’s Up” Iconic songwriter-producer Linda Perry is managing 16-year old Willa Amai who recently performed on The Today Show and The Ellen DeGeneres Show. Amai racked up social media views on her rendition of Perry’s 4 Non Blondes hit, “What’s Up.” Her new single is titled “Unorganized Crime.” Check her out at willaamai.com.

Sony/ATV Music Publishing has announced it has signed rising country singer-songwriter, artist and four-time Golden Guitar nominee Brad Cox to a worldwide publishing deal. Cox will be collaborating with the company’s creative teams in both Nashville and Australia. Hailing from Jindabyne, Australia, Cox has opened shows for artists including Brett Eldredge and Jon Pardi.

MACLAY HERIOT

Brad Cox: Songwriting Wonder from Down Under

Steve Earle, Bobbie Gentry, Kent Blazy, Brett James and Spooner Oldham have been elected to the Nashville Songwriters Hall of Fame. The five new inducteeselect—who next year will join 219 of their previously named colleagues in the elite organization— were inducted during the “50-51” edition of the Nashville Songwriters Hall of Fame Gala at the Music City Center. The Class of 2020 will join the yet-to-be named Class of 2021 to celebrate the 50th and 51st anniversaries of the event, which was postponed this year because of the ongoing health crisis. Kent Blazy’s songwriter credits include “If Tomorrow Never Comes” (Garth Brooks), “Ain’t Goin’ Down (’Til The Sun Comes Up)” (Garth Brooks) and “Gettin’ You Home (The Black Dress Song)” (Chris Young). Brett James’ resume is known for “Jesus Take The Wheel” (Carrie Underwood), “When The Sun Goes Down” (Kenny Chesney & Uncle Kracker) and “Summer Nights” (Rascal Flatts). Spooner Oldham is the writer of R&B and Pop hits (along with co-writer and recent Song Biz Profile subject Dan Penn) such as “I’m Your Puppet” (James & Bobby Purify), “Cry Like A Baby” (The Box Tops) and “Sweet Inspiration” (The Sweet Inspirations). Multiple Grammy Award winner Steve Earle recorded many of his self-penned hits, including “Guitar Town,” “Copperhead Road” and “The Devil’s Right Hand.” Artist-songwriterproducer Bobbie Gentry popularized many of her own compositions such as the oft-recorded smash “Ode To Billie Joe,” “Fancy” and “Mornin’ Glory.” For more info, visit nashville songwritersfoundation.com.

O-o-h Desmond Child

Desmond Child is well known as a songwriter extraordinaire who has

penned hits for Bon Jovi, Ricky Martin, Katy Perry, Kelly Clarkson, Zedd and many others. Back in the lascivious decade of the ’70s, he fronted Desmond Child & Rouge. Now the group’s club hit, “Our Love is Insane XX,” featured on disco playlists from Studio 54 to Xenon, has been updated with a remix. The group’s two albums have also been remastered and can be heard on all major streaming platforms. Child was inducted into the Songwriters Hall of Fame in 2008 and serves on its Board of Directors as well as the Board of ASCAP. In 2018 he was honored with ASCAP’s prestigious Founders Award. Coming next: a memoir due in 2021, titled Livin’ on a Prayer: Big Songs, Big Life. Stay tuned. See desmondchild.com.

MLC Gears Up for 2021 Launch

The Mechanical Licensing Collective (MLC) has announced that it had filled two more roles on its senior leadership team: Ilene Weintraub joins as The MLC’s Chief Financial Officer and Indi Chawla joins as The MLC’s Head of International Relations. As Chief Financial Officer, Ilene Weintraub will be responsible for all of The MLC’s financial activities, including accounting, finance, treasury, cash management and royalty reporting to Members. She will also serve as a strategic advisor to The MLC’s CEO and leadership team on financial and business matters. Indi Chawla, The MLC’s new Head of International Relations, will be responsible for leading The MLC’s outreach and engagement with collective management and other industry organizations outside the United States. The MLC is a nonprofit organization designated by the U.S. Copyright Office pursuant to the

A.J. Croce’s Tip Jar Singer-songwriter A.J. Croce is readying his latest release By Request for 2021. The inspired set of covers includes songs from Allen Toussaint, Neil Young, Sam Cooke and others. He describes his version of “Sail on Sailor” by the Beach Boys as, “How Willie Dixon would have recorded it if he were on psychedelics.” For more information, visit compassrecords.com. 34 December 2020

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TOMMASO BODDI/GETTY IMAGES FOR ASCAP

JOSHUA BLACK WILKINS

Ashley Gorley Takes ASCAP Top Honors Ashley Gorley was named ASCAP Country Music Songwriter of the Year at the 58th annual ASCAP Country Music Awards. This is the eighth time that Gorley has won Songwriter of the Year. His hits include “Catch,” “Good Vibes,” “I Don’t Know About You,” “Living,” “One Big Country Song,” “Remember You Young” and “Ridin’ Roads.”

– DAN KIMPEL dan@dankimpel.com

historic Music Modernization Act of 2018. Starting in January 2021, The MLC will issue and administer blanket mechanical licenses to eligible streaming and download services in the United States. The MLC will then collect the royalties due under those licenses and pay songwriters, composers, lyricists and music publishers—at no cost to writers, publishers or their administrators. A Board of Directors composed of songwriters and representatives of music publishers governs The MLC. For more background on The MLC and its Board and Committee members, go to TheMLC.com.

SCL Awards Submissions

The SCL Awards—presented by the Society of Composers and Lyricists (SCL)—celebrate excellence and innovation in music for visual media. Five competitive category awards will be presented at a ceremony on March 2, 2021, and awards submissions are open until Dec. 31 including Outstanding Song for Visual Media, with original words and music written specifically for a studio or independent motion picture, documentary, television production, video game or interactive medium. The song must be used in the body of the production, or as the first music cue in the end credits. Joint submissions for co-written works are permitted for no more than four songwriters per song. A minimum 25% creative contribution, supported by cue sheet credit, is required. Certificates honoring additional musical contributions to the winning entry will be presented at the discretion of the category winner(s) and the SCL Awards Committee.

All composer-songwriter entrants must be active voting SCL members. Patron, Sponsor, and Associate members are not eligible to enter. Non-members must apply for membership to be eligible for entry. Visit thescl.com for additional details.

Songwriting Retreat with Andrea Stolpe

A three-day virtual songwriting retreat is planned for Dec. 4-6 with songwriter and coach Andrea Stolpe. Connect with your artistic voice and emerge with a comprehensive tool-kit for crafting songs that are more impactful, authentic and memorable. Attendees determine their own levels of participation from simply sitting back and enjoying the master classes, taking part in curated co-writing sessions, put together with each writer's unique skills and genres in mind, or rounding out the experience with a live writers-inthe-round showcase. With 20+ years experience in the music industry, Stolpe has penned songs for artists such as Faith Hill, Julianne Hough and Jimmy Wayne, and has worked at companies including Universal Music, EMI and Almo-Irving. Stolpe now advises creative minds around the world. She has developed a methodology adopted by Berklee, USC Thornton and other music institutions across the U.S. and beyond. The retreat ticket includes lifetime access to the Andrea Stolpe Alumni Community. Registration info is at andreastolpe.com. DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.

Daniel Lanois Gets Heavy Twelve-time Grammy-winning Daniel Lanois—producer for U2, Bob Dylan and many others—is prepping a new collection for April 2021. The Song Biz profile alumnus has released the title track, which reveals the Canadian-born creator delivering a compelling addition to his collected works. Highly recommended.

X Ambassadors Ink With Warner Chappell Warner Chappell Music, the global publishing arm of Warner Music Group, has entered into a worldwide publishing agreement with X Ambassadors. The band’s RIAA platinum hits include the Billboard chart smashes, “Renegades” and “Unsteady.” In addition, X Ambassadors are in-demand co-writers and producers, having collaborated with Lizzo on the Grammy-winning “Jerome,” in addition to “Cuz I Love You” and “Heaven Help Me.

SESAC Country

Billy Joe Shaver: Songwriting Legend Song Biz notes the passing of the brilliantly irascible Texas songwriting legend, Billy Joe Shaver. In 2014, on his final album, he recorded the duet “Hard to Be an Outlaw” with long-time friend Willie Nelson, who called him “the greatest living songwriter.”

SESAC celebrated its songwriters and music publishers behind the year’s most-performed country and Americana songs for the 2020 Nashville Music Awards, which took place in a digital format. Matt McGinn was named SESAC’s Songwriter of the Year for the second time, taking home his first award in 2018. McGinn’s chart-topping hits from the past year include “Homesick” and “Cool Again,” recorded by Kane Brown and “One Thing Right,” recorded by Kane Brown and Marshmello. December 2020

musicconnection.com

SONGWRITER PROFILE

– DAN KIMPEL

BAO

Metaphors From The Musical Cinema

“

he purpose of art is to lay bare the questions that have been hidden by the answers,” wrote author James Baldwin. In the creative consciousness of songwriter, producer, recording, and visual artist Bao Vo––known professionally as BAO––questions posed with fearless candor are revealed in a transfixing cycle of 14 songs titled Perpetual Heartbreak. On this solo debut, propulsive rhythms and sonic sparkles belie darker themes. “The hooks and the catchy melodic things are gateways to let people into the music,” the Los Angeles-based artist explains. “Once they are in there, I want to give them more to explore. So that’s the opportunity for more complex lyrics, subject matter and textures.” BAO, who began creating visual art in junior high, has exhibited in galleries and museums nationwide. An accomplished design professional, he says his approach to music is cinematic. “That’s my goal with these records––more like a film, where textures and images tell the stories.” Working in pop music, a medium where Asian Americans have been historically under represented, BAO neatly obliterates model minority stereotypes. On “Thanks” he intones, “Every night we get drunk and smoke and fuck.” Says BAO, “It’s an open love letter. Sometimes you don’t get to express how grateful you are. These are magical themes in the movie of my life.” Born in Vietnam, BAO emigrated with his family to the United States at age three. His outsider perspective is articulated in “We Never Say a Word,” with lines, “Good is never good enough/ When good was made for someone else.” He notes, “There are little snap shots of stories of internalized racism that I’ve seen over and over in the Asian American community. A lot of my friends and contemporaries struggle with that.” For close to a decade, BAO created pop-dance music as the mastermind of Ming & Ping, an extravagant concept that married eye-popping videos and costumes to Cantonese Opera-inspired electronica. He curates corresponding content for Perpetual Heartbreak with video dialogues, “Behind BAO’s Music.” With “BAO Feels His Music,” the artist silently contemplates his tracks. “I figured this is my chance to treat music as conceptual art again,” he clarifies. “It’s not as divisive as Ming & Ping, which was more like Andy Kaufman and Pee Wee Herman––a reaction to the Britney Spears era of manufactured celebrity. That was conceptual art. Now, just releasing an album is conceptual art. So why not give audiences another way to absorb the music?” With the Ming & Ping project, BAO played all of the instruments. For Perpetual Heartbreak, he enlisted a cast of musicians to contribute. “It’s like controlled chaos, to include other sources that take me out of my comfort zone,” BAO observes. “That’s reality. And I’m tired of having control of everything.” While BAO is a self-described introvert, he is an affable on-screen host as seen in his new video series “Coffee With BAO,” as he interviews fellow creators. “I went to a magnet high school for performing and visual artists. I realized I was shit in expressing what was in my brain, and it was detrimental to my career as a creator. I could make the coolest stuff, but if no one understood what I was trying to do, what was the point? I’ve worked so hard to improve my speaking skills.” Perpetual Heartbreak opens with “Beautiful Things,” a recast version of a Ming & Ping song. “The thought of including it was realizing that none of the work I’m generating is new,” BAO notes. “I’ve been exploring these themes since I started making artwork in ninth grade.” A striking image in “Beautiful Things” repeats, “You just watch the show like a black crow.” BAO explains the reference. “It could be interpreted as a bad thing, but heroes can be bad people too. Villains also have greatness. Everybody has a broad spectrum of good and bad, positive and negative. Crows freak people out because they are black, and they sit off in the distance and watch you. But they are considered one of our most intelligent birds. They recognize faces. If you mess with them, they will remember you forever.” Contact Alex Steininger, In Music We Trust PR, alex@inmusicwetrust.com

36 December 2020

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December 2020

musicconnection.com

DROPS

Stardust, the new Gabriel Range-directed film about one of our greatest musical and cultural icons, the late David Bowie, debuted Nov. 25 in theaters and on-demand. Starring singersongwriter Johnny Flynn as Bowie, as well as Marc Maron and Jena Malone, the film begins when a 24-year-old Bowie flew to the States in 1971 to promote his newest record, The Man Who Sold the World, and embarked on a coast-to-coast tour that introduced America to his first and iconic, otherworldly alter ego, Ziggy Stardust. Malone stars as Bowie’s pregnant wife, Angie, and Maron as Mercury Records publicist Rob Oberman. The film was written by Gabriel Range and Christopher Bell. For further information, contact Ryan Langrehr at rlangrehr@bk-pr.com.

STARDUST who decides to take back control of her life by starting an illegal coupon club, which delivers deals to millions of coupon clippers at the expense of major food companies. Release date is TBA.

Zappa, in theaters and on-demand starting Nov. 27, is a new film written and directed by Alex Winter that takes a look at the life and career of the late artist, bandleader and composer Frank Zappa. Through access to the Zappa Family Trust, archival footage and interviews with friends and collaborators, Magnolia’s new film not only chronicles Zappa’s musical career, but offers a glimpse into his other endeavors, including politics and as an advocate against music censorship. With a score that includes fan favorites and later compositions, the film includes interviews with collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood and Ray White, as well as Zappa’s widow, Gail Zappa. Contact Sara.Tehrani@ddapr.com. Pop singer-songwriter Bebe Rexha, known also for her songwriting credits in collaboration with Eminem, Selena Gomez and Nick Jonas, will make her feature film debut in the femaledriven, STXfilms comedy Queenpins. The film also stars Kristen Bell, Kirby Howell-Baptiste, Vince Vaughn and Paul Walter Hauser. Written and directed by Aron Gaudet and Gita Pullapilly, Queenpins follows a suburban housewife, fed up with her dismissive husband, 38 December 2020

musicconnection.com

The Bee Gees: How Can You Mend a Broken Heart, directed by Frank Marshall (Seabiscuit, The Curious Case of Benjamin Button), chronicles the ups and downs of the musical journey of brothers Barry, Maurice and Robin Gibb, who helped define the Disco era. From their early fame in the 1960s, to writing 20 No. 1 hits throughout their career, this film captures the trio’s explosive rise to fame with interviews from oldest brother Barry, archival interviews with the late twin brothers Robin and Maurice, interviews with Eric Clapton, Noel Gallagher, Nick Jonas, Chris Martin BEBE REXHA and Justin Timberlake, and a wealth of footage from recording sessions, live concerts and home videos. The documentary debuts Dec. 12 on HBO and will be available to stream on HBO Max. It was an official selection of the 2020 Telluride Film Festival. Contact lana. iny@hbo.com for more details. A new documentary, Museum Town, opens Dec. 4 from Kino Lorber, in virtual cinemas on the Kino Marquee platform. This doc explores the concept of art and culture as a means for economic development. Directed by Jennifer Trainer, a former journalist and one of MASS

MoCA’s original builders, and narrated by Academy Award winner Meryl Streep, the documentary tells the story of an unconventional museum, the small town of North Adams, MA it calls home, and the great risk, hope and power of art to transform a desolate post-industrial city. In addition to Nick Cave, the documentary features appearances by artists James Turrell, Laurie Anderson and David Byrne, with original music and soundtrack by John Stirratt of Wilco, featuring songs by Talking Heads, Sharon Jones, Big Thief, Wilco and Moses Sumney among others. Contact betsyrudnick pr@gmail.com. Legacy Recordings recently released the first-ever official music video for Elvis Presley’s “(You’re The) Devil In Disguise.” First released as a single in 1963, the song was written by Bill Giant, Bernie Baum and Florence Kaye. The King of Rock’s rendition hit No. 1 on the Official U.K. Singles Chart and spent 11 weeks on Billboard’s Hot 100 where it peaked at No. 3. It now has a video created by illustrator, animator and director Jimmy Simpson. In addition to the music video, “(You’re The) Devil In Disguise” is also a part of the new Elvis Instagram filter and Facebook lens. Watch the video on YouTube and contact Maria.Malta@sonymusic.com for more information. The soundtrack to the acclaimed hip-hop documentary LA Originals will drop Dec. 4. The film

– JESSICA PACE j.marie.pace@gmail.com is an exploration of the culture and landmarks of the Chicano and street art movement and how legendary photographer Estevan Oriol and tattoo artist Mister Cartoon fit into it since meeting in 1992. The accompanying soundtrack features a collection of musicians both inked by Cartoon and photographed by Oriol, including Method Man (“Da Rockwilder”), 50 Cent (“Disco Inferno”), Snoop Dogg (“Gin & Juice”), Gang Starr (“Mass Appeal”) and Public Enemy (“Fight the Power”). Contact Rey Roldan at rey@ reybee.com.

OPPS

The New Century Dance Project’s call for choreography for the 2021 festival opened up this fall, and submissions can be sent to newcenturydanceproject.org/ choreography-sub missions. Choreography in any dance genre or style may be submitted. Learn more on their website.

Music Masterworks has launched a joint venture with artist manager and tour producer Jonathan Shank’s new company Terrapin Station Entertainment to create family-centric tours and experiential events for concertgoers of all ages, as well as support the careers of young talent. Under the partnership, Masterworks and Shank will collaborate to curate live productions, including licensed tours and events. The partnership will also work to expand Terrapin’s artist management business and help advance the careers of developing artists on its roster, including Victoria Justice, Scarypoolparty, Maddie Poppe, Magic!, Laura Marano and Sam Tsui. Shank left a 10year career at Red Light Management earlier this year to launch Terrapin Station Entertainment. Contact Andrea Evenson at aevenson@shorefire. com.

Veteran composer and music producer Tom Salta recently launched a If you signed up to parnew Masterclass Series ticipate in St. Paul, MN’s on music production and 2021 Film Score Fest, composition for video JONATHAN SHANK your score is due Jan. games. Renowned for 24. The annual event scoring iconic games celebrates the work of including the Halo series, filmmakers and composTom Clancy series and Prince of Persia, for ers, and if you missed this year’s deadline to the first time the ASCAP-winning and MTV VMAsubmit films and music, keep up with deadlines nominated Salta is offering an educational series for the next festival at filmscorefest.org/sign-up. to share his knowledge and expertise of the video game and game The 2020 Future of audio world. The first Film Summit will be series covered topics held online this year including the business from Nov. 18-20. aspect of the field, Featuring speakers adaptive scoring and who are professionthe creative process. als in the field, this Those interested year’s event will in participating in focus on three upcoming classes can areas critical to film’s register at masterfuture: storytelling, innovation and reimagining. class.tomsalta.com. Contact Greg O’ConnorTo see the schedule, list of speakers and how Read at greg@topdollarpr.com. to participate, visit futureoffilm.live/page/summit. Nicki Minaj has announced that a six-part documentary series on her life is coming to HBO Max. Each episode will explore Minaj's creative This fall, in addition to launching a new webmind and tell the story of her personal and prosite, Brand X Music named Alicia Richards fessional journey. Minaj herself will guide viewers the new Head of Creative Sync. Richards through her challenges and successes, from her ran her own firm, AR Music Services, for rise to fame to her experiences in motherhood. the past two years, and spent three prior at Warner Bros. Records as Senior VP Creative Some of her achievements include 19 Top 10 Billboard Hot 100 hits and 114 total entries on the Sync. She has also worked at Sony Music Hot 100—the record for most entries by a female Entertainment and Disney Music Publishartist. ing. In her new position, Richards will oversee The series is produced by BRON Life Stuthe sync department and placements for an dios, and directed by six-time Emmy nominee in-house library that includes more than 8,000 Michael John Warren, who made his debut with tracks, 115 albums and 55 original songs by Jay-Z's Fade to Black in 2004. This is the third seven different artists. Brand X Music is a project Warren and Minaj have worked on tomajor music library for film and entertainment gether. Contact raina.falcon@warnermedia.com. advertising, and its credits include cues for the Pirates of the Caribbean franchise and trailers for the Harry Potter series. Contact Felecia Bearden at felecia@thepurpleagency.com.

PROPS

Marking one of the biggest mergers in the live entertainment business this year and Sony’s first venture into artist management, Sony

JESSICA PACE is a music journalist-turned-news-reporter based in Durango, CO. She is from Nashville, where she started a writing career by freelancing for publications including American Songwriter and Music Connection. Contact her at j.marie.pace@gmail.com.

Out Take

Deborah Mannis-Gardner Music Clearance Provider

Web: dmgclearances.com Contact: deborah@dmgclearances.com Deborah Mannis-Gardner, also known as the “Queen of Sample Clearance,” began earning her nickname back in 1990, when sampling music was considered a passing phase. But she liked the methodical process, and is now considered the go-to expert on sample clearances and sync usages in film, television, video games and advertising. “I don’t think people liked sampling, because sometimes that meant working with multiple writers and publishers. But the process was a very calming thing for me,” she says. “It’s like putting a puzzle together–all the pieces have to fit. You have to research the copyright holders, send out letters of request, get all the parties to sign off and negotiate compensation.” This past fall, Mannis-Gardner worked with Megan Thee Stallion to clear her performance of “Savage” on Saturday Night Live. Her credits also include No. 1 albums Shoot for the Stars, Aim for the Moon by Pop Smoke and Lady Gaga’s Chromatica, as well as Netflix’s hit series #BlackAF. Mannis-Gardner says platforms like YouTube have made the business challenging, offering artists access to obscure material that might be difficult to track down and license. “It’s both a science and an art,” she says. “There is an equation for everything that we do, but you’re also assisting in the creative process. Your name could be on CDs, but you’re not in the spotlight–you’re the wizard behind the curtain.” Mannis-Gardner says the industry of music clearance is growing, which means there’s ample opportunity for novices to break into the profession. She’s a big believer in internships, and always has some working at DMG Clearances. “And they’ve gone on to do wonderful things. Volunteering your services will bring you into this business,” she says. “And you have to love what you do. I say: have a good time, or change your career.” •

December 2020

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#FightLyme with Avril + Friends Pop-rocker Avril Lavigne, together with Global Lyme Alliance, have raised funds for The Avril Lavigne Foundation and Global Lyme Alliance to support ongoing efforts to help raise awareness and fund treatment for individuals affected by Lyme disease. #FightLyme with Avril + Friends, hosted by Wilmer Valderrama, brought together celebrities, musical artists and philanthropists for a streaming benefit concert, with performances by Avril Lavigne, Alessia Cara, OneRepublic and Rob Thomas.

System of a Down Release New Music to Aid Armenia It’s been 15 years since System of a Down released new music. Motivated by the recently erupted conflict between Artsakh and Azerbaijan, with the greatest violence the region has endured in 26 years, “Protect the Land” and “Genocidal Humanoidz” lyrically and socially condemn the unrest and call for action. Royalties from the tracks will aid the Armenia Fund. Says singer Serj Tankian, “Put politics aside and support Armenia by sanctioning Turkey and Azerbaijan and recognizing Artsakh.”

Pierce the Veil Frontman’s Living the Dream Foundation Vic Fuentes, frontman for Pierce the Veil and CEO of Living The Dream Foundation, embraced the reality and implications of COVID-19 by challenging the organization to get creative. Music fans with terminal illnesses have had the opportunity to hang with their favorite band or artists via an intimate one-on-one Zoom chat. LTDF has done virtual #DREAMDAYS with Pierce The Veil, 3Oh!3, Sleeping With Sirens and Cavetown. Their latest with Third Eye Blind singer Stephan Jenkins and drummer Brad Hargreaves made one of their biggest fan's dreams come true.

Houston is First Black Artist to Achieve Three Diamond Albums Whitney, the artist's second studio album, has been certified RIAA Diamond (10x Platinum), joining Whitney Houston and The Bodyguard Soundtrack to make Whitney Houston the first Black recording artist with three Diamond albums in her discography. Released in 1987, Whitney, the follow-up to her multi-Platinum debut, generated five Billboard Top 10 singles, including “I Wanna Dance with Somebody (Who Loves Me)” and “How Will I Know.” In November, Houston was inducted to the Rock & Roll Hall of Fame Class of 2020. Whitney Houston also holds the Guinness World Record for most awarded female artist of all time. 40 December 2020

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– JOSEPH MALTESE josephm@musicconnection.com

Tidbits From Our Tattered Past

2002–India Arie–#20 After her debut album had garnered seven Grammy nominations, India Arie told us about her development as a more confident musicmaker. “I’m learning how to communicate in the studio,” she said, “how to say, ‘I don’t like that.’” Our Crosstalk area profiled the late, great Ed Cheney, and our Songwriter Profile presented an interview with the legendary Delbert McClinton.

Sponge on the Run Three of the industry’s most renowned rappers, Tyga, Swae Lee and Lil Mosey, have teamed up with Billboard Latin’s Producer of the Year, Tainy, to release “Krabby Step” from the official soundtrack for the upcoming animated film The Spongebob Movie: Sponge On The Run. The record was executive produced by Tainy, Albert Hype and NEON16, and will be featured in the film, to be released in 2021. The soundtrack will also include songs from Weezer, MonstaX, Snoop Dogg, The Flaming Lips, Kenny G, Cyndi Lauper and more.

Lift Every Vote In a final call to all creators, performers, musicians, dancers, poets and artists, Lift Every Vote organized and presented pop-up performances to inspire the country’s greatest-ever voter turnout. The organization was co-founded by Grammynominated jazz musician Russell Hall, The Blacksmiths and The Wide Awakes, growing from peaceful grassroots rallies around New York City, fighting for social justice after the murder of George Floyd.

Chromeo debuted their surreal video for “Clorox Wipe,” from their Quarantine Casanova EP, five tracks written and recorded under lockdown and released earlier this year. All net proceeds from EP digital downloads, physical sales and merch have been donated, with $20,000 to Colin Kaepernick’s Know Your Rights Camp COVID-19 Relief Fund, plus an additional $30,000 match donation from Clorox. Clorox also pledged an additional $25,000 donation, totaling $75,000 in COVID Relief Fund donations from Chromeo and Clorox.

DAVID KLEIN

Chromeo Raises $75,000 in Covid-19 Relief

2010–Bruno Mars–#12 The super-busy Bruno Mars took time out from his whirlwind career to speak to MC about what it means to be a singer-songwriter. “Who can sell the song better than the person who wrote it? Who can connect emotionally to the song?” We also learned he was named after pro wrester Bruno Sammmartino! Elsewhere, music supervisor Gary Calamar (Dexter, Six Feet Under) is also interviewed.

December 2020

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By Miguel Costa

42 December 2020

musicconnection.com

PHOTOS COURTESY OF RCA RECORDS

he has always been H.E.R. The native daughter of Vallejo, CA and a music prodigy. But something changed when Gabi Wilson decided to release new music under that anonymous three-letter acronym, because she won two Grammy Awards shortly thereafter. Grammy night (2019) was a moment in time when the world finally saw what the young songwriter envisioned for herself once she adopted an incognito persona behind a tinted pair of sunglasses. Her rise through the ranks of soul music became crystal clear. The self-titled, award-winning compilation album (H.E.R.) would go on to impact urban American culture and R&B music like no other unofficial studio album has since Drake dropped his classic mixtape So Far Gone back in 2009. Although H.E.R. won a Grammy for Best R&B Album in 2019, the music industry’s true coronation of the songstress might have come one year prior, during a face-to-face encounter with Janet Jackson in London, a chance meeting when Janet Jackson revealed that the 23-year-old’s music helped her get through a pregnancy. She has always been H.E.R. The embodiment of two hardworking parents and a girl with an imagination that stretches far beyond the famed imagery of her trademark sunglasses. Wilson’s identity has been revealed. She’s a movement. A social cause for African American women and a voice for Filipino communities. Recently, we spoke with H.E.R. about the social meaning behind her music, MBK Entertainment’s role in her development as an artist, and the influence that she has had on both of the ethnic communities she belongs to.

Music Connection: Because of the pandemic this year, several recording artists have had to adapt to the way in which they release creative content. We noticed that you launched an original series called “Girls With Guitars” on Instagram Live back in April. You even aired a special edition of the show for Black Music Month in June. This was over six months ago. What have been the residual effects of this campaign and will you do it again next year? H.E.R.: Oh definitely. It’s really important for me to include other really dope creatives in things that I do. People need substance right now and they need music. Just something to get their minds off of a lot of the stuff that’s been going on and I’ve been trying to do that in everything I do. MC: Sheryl Crow appeared as a guest on episode 4 of “Girls With Guitars.” What was it like playing the guitar with one of your heroes? H.E.R.: Oh my gosh! It was crazy! She’s a legend. I’ve had so many of my heroes on (the show), it’s been unbelievable. “Girls With Guitars” started off as just me being in the house, kind of being bored and discovering how much I love Instagram Live. I started having girls on there and it became something so much bigger. It’s been dope to see the response and to see who’s wanted to (appear on the show as a guest). Also, it’s been creating a platform for a lot of up-and-coming girls with guitars. MC: Awesome! So, will there be a season two? H.E.R.: Definitely. We’re going to have to do it big! MC: Now, you have your very own signature guitar with Fender. The Fender H.E.R. Stratocaster was released back in September (2020). How did that collaboration come about and how involved were you with the design? H.E.R.: They let me pick everything, down to the (guitar) pickups. Everything! It started off with Fender creating my acrylic Strat (for a Grammy performance in 2019)…and the relationship just built over time. It was a dream come true when they came to me and said “we would love to collaborate.” I was able to create my own Strat. It’s what I started playing guitar on and it honestly meant the world to me. I am the first black female artist to create a Stratocaster. It’s crazy. The goal is to inspire and I think this guitar is doing that. MC: That’s cool, because the Stratocaster was the first guitar that your Dad bought you, right? From the Guitar Center? H.E.R.: Yeah, it was a black and white Stratocaster. So, it was a crazy full-circle moment. MC: Back in February, I watched your performance of “Me and My Guitar” with a rapper named A Boogie Wit da Hoodie on The Tonight Show. You were playing rock & roll riffs on the electric guitar. I was blown away by your musicality. Which begs the question: Who’s your favorite guitar player of all time? And if you could play in any rock band, past or present, which one do you think your style would mesh with the best? H.E.R.: What? I don’t know if I can answer that. That’s really tough, but thank you. I was really nervous that day. That was the first day that I had to perform, playing the guitar for somebody December 2020

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(else) as opposed to me being the singer and the guitar player. I don’t know, honestly. Prince is definitely up there for me. But I love Eric Clapton, Eddie Van Halen and Jimi Hendrix. Those are some of my favorites. I would have loved to have played with Led Zeppelin or with Prince & The Revolution. MC: About one year before that, you thrilled the national viewers with a riveting guitar solo during a live performance of “Anti” on the MTV Music Video Awards (2019). This song has such a strong social meaning about traditional beauty standards, but you’ve never officially released it as a single. Why is that? H.E.R.: There’s a lot of songs that I’ve performed and never released. I have songs like “Glory” that I performed for Fender (Signature Sessions) with my Stratocaster. There are certain songs that I just like to perform because they’re really dope and they need to be heard in a certain way. Maybe it’ll be on my album. Maybe it’ll be on a project. You never know. MC: Speaking of performing new music on live TV, you premiered a song called “Hold On” on Saturday Night Live (an episode that aired on Oct. 24, 2020). What was it like working on the set of SNL with Adele (the host) during the pandemic? And how did you choose the music that you were going to perform that night? H.E.R.: It was one of the most epic nights of my life. I think this is pretty much how it happened: I was in Jamaica working on a project that I am hopefully releasing soon and Adele was in Jamaica at the same time and we just so happened to be staying at the exact same resort. I found out that she was there and, long story short, we ended up meeting. And she said that she was a really big fan. And I told her I was a really big fan. We just built a relationship off of the Jamaica trip. We started speaking over time and randomly, one night, she texted me and said, “Have you

ever done SNL?” And I said, “No, but I hope to one day.” I didn’t think anything of it. But a few days later my team says to me “Adele wants you to do SNL when she hosts.” I was freaking out. Adele said, “I was going to do SNL and there was no other artist that I wanted to perform while I was hosting.” I thought that was really special. It made the night even more special, the fact that she said that and is a really big fan of my music. So when I picked the song (to perform on the show) I had just released my single “Damage,” from my upcoming album and I really wanted to showcase that song. “Hold On” is something that I had been working on for a year. It took me so long to write. I don’t know why. I finally finished it maybe a week before my SNL performance and I decided, ‘I think the song is really emotional and it needs to be my second performance (of the night), because it’s very different from the first song that I’m going to perform.’ And I got to showcase my Stratocaster! MC: We heard that Janet Jackson approached you after your show in London and said that your music helped her get through her pregnancy. Who is the person most responsible for helping you develop the deeply emotional lyrics that you pour into your songwriting? H.E.R.: Me. (laughs) I’ve worked with a lot of different collaborators. But I’ve always written songs that come from a personal place. Everything comes from me. I’m a huge diary-journal writer. And I think that shows in my lyrics. MC: You often mention Volume 1 when it comes to finding yourself as a recording artist. On a personal level, where does that EP rank among the other releases in your catalog and why? H.E.R.: Rank? I couldn’t tell you, I think everything represents a feeling and a time. I was 18 when my first EP came out, so I’m a different person now. Things change so much, I’m a different person than I was at 18, 19, even 21.

Quick Facts • H.E.R. is the daughter of musician Kenny Wilson. He is the singer and guitarist in a blues band called the Urban Bushman Band.

to top quality music programs complete with full mentorship.

• Janet Jackson’s favorite album by H.E.R. is Volume 2.

• H.E.R. signed to RCA records at the age of 14. She published musical content under her legal name, Gabi Wilson, for nearly five years.

• H.E.R. owns a pet snake named “Prince Roger” in honor of the legendary R&B singer, Prince.

• At the age of 10, H.E.R. was a finalist to play the role of Hannah Montana on the Disney Channel.

• H.E.R. started the Bring The Noise Foundation in 2018, in order to provide low income neighborhoods with access

• H.E.R. is an acronym that stands for “Having Everything Revealed.”

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There’s a special place in my heart for each one of my songs. I love to live in my memories and I can always go back to my own music as the soundtrack for my own life. MC: You’ve released five EPs in the past four years. Each of these releases has been met with critical acclaim. So, why is it that you haven’t released a full-length album yet? H.E.R.: Honestly, I don’t know. Those were just supposed to be the introductions to who I am and what I do. You know? Obviously songs like “Hard Place” are much different from what you hear on Volume 1 and Volume 2. I think they’re just different versions of me. Those first projects were for me to put out music and see if they love the message, and it turns out people do. And two Grammys later, I’m working on my debut album. Which I guess isn’t really going to be a debut, but it’s going to be a combination of all these perspectives that I’ve built and that have grown over time. MC: Tell us about your working relationship with your producers DJ Camper (David “Swagg R’celious” Harris) and Swag (Darhyl “Hey DJ” Camper Jr.). They worked on your first two EPs. Are they going to be working on your upcoming debut album? H.E.R.: Yeah, I hope so, I’ve been working with Camper a lot. Swagg is like my big brother. I’ve been working with both of them since I was very

young. They’ve been in my life for a long time. We enjoy working together. I hope so, we’ll see. MC: You’ve stated publicly that you’d like to work with Drake or Stevie Wonder. Will either of them be making an appearance on your debut album? H.E.R.: We’ll see. I’ve just been making music and having fun with a bunch of different people. Those are definitely my dream collabs. So, we’ll see. MC: What’s a writing camp with H.E.R. like? H.E.R.: It’s mostly just a lot of talking. Some people will come up with the melodies that I like and I’ll go in (the recording booth) and do my thing. It’s a very intimate thing for me, it takes a while for me to open up to people that I haven’t worked with before. But it’s just good vibes and good conversation. MC: You’ve often expressed the pride that you have for being a black woman in today’s day and age. But you’re also a Filipino American from the (San Francisco) Bay Area. A place where there’s a thriving Filipino American community. What’s the reception to your music been like among the Filipino American community back home? H.E.R.: They’ve been supporting me from day one. With Filipinos, that’s what they love—R&B. I saw that when I became the first black woman

to own a festival, The Lights On Festival (a Live Nation event that took place in Concord, CA on Sept. 14, 2019). We sold out in 10 minutes. The whole Bay Area and people from all over the world came out. I’m proud to be from the Bay. It’s always been a community and family vibe, being from the Bay. Having that foundation was really important in my success, growing and traveling the world. I always have that foundation, that family. MC: While we’re on the subject of traveling the world, are you planning any concerts in the Philippines once the pandemic is over? Perhaps in 2021? H.E.R.: Definitely! That was definitely a part of my plans before they were cancelled. I definitely want to go to the Philippines and perform. MC: I’m sure that’ll make your Mom very happy. H.E.R.: Absolutely! MC: When you were a kid living in the Bay Area you joined a group called Pop Life with Kehlani and Zendaya. As the three of you have gotten older, you’ve all become superstars in your own right. What brought you all together back then? And what kind of impact did that experience have on your career path? H.E.R.: I wouldn’t call it a career at that age. I was just playing music and having fun. We

were all from the Bay Area. Zendaya wasn’t fully in the group, but we had met each other and performed around that time. I’m thankful that I was able to play music at such a young age. And I was surrounded by music, being from the Bay Area, as was Zendaya, as was Kehlani. We were all surrounded by music all the time and we loved music. And that’s how we ended up singing together or whatever it was at the time. I don’t think it necessarily had an effect on my success but it had an effect on me as a person and a musician, just learning things so young. MC: You’ve been signed to MBK Entertainment (for management) since you were a pre-teen. What kind of role has Jeff Robinson played in your evolution from Gabi Wilson to the artist known as H.E.R.? H.E.R.: When it came to the evolution of me as an artist and me developing as a woman and somebody in this industry who’s learning, Jeff has been a huge mentor for me. I’ve learned so much. He’s helped me become the artist that I am today. He’s shown me what to watch out for and he’s really educated me in life and in music in this business that’s so hard to navigate. He’s also shown me a family environment. I’ve been working with MBK since I was 11 years old, They’re like my family. We’ve always been there for each other from the very beginning. Contact Theola.Borden@rcarecords.com

“I love

Eric Clapton, Eddie Van Halen and Jimi Hendrix. Those are some of my favorites. I would have loved to have played with Led Zeppelin or with Prince and The Revolution.” December 2020

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TOP 25 NEW MUSIC One of Music Connection’s best-known specialties is reviewing the work of unsigned recording artists. Over the past year, our listening crew heard some stellar talents and it’s now time to present the cream of the whole crop. Below are the highest scoring artists and bands––as well as an additional page of Top Prospects who are just too talented to overlook. MC invites all unsigned recording artists to sign up for a free review at musicconnection.com/reviews/new-music-critiques.

CODY NEWMAN - 9.0

LECU - 9.0

SERENA WILEY - 8.6

JENNIAIR - 9.0

WENDY MOTEN - 8.6

ANTHONY LAZARO - 8.4

KATYA RICHARDSON - 9.0

CUB SPORT - 8.6

REED WADDLE - 8.4

THE 5:55 - 9.0

THE DANBERRYS - 8.6

MALINDA - 8.4

Contact: jgulko@thegulkogroup.com Web: codynewmanmusic.com

Contact: jennifair2010@gmail.com Web: jennifairinternational.com

Contact: katyarichardsonmusic@gmail.com Web: katyarichardson.com

Contact: booking@thefive55.com Web: thefive55.com

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Contact: lecumusic@gmail.com Web: lecumusic.co.uk

Contact: radioeye@aol.com Web: wendymoten.com

Contact: jpage@shorefire.com Web: cubsport.com

Contact: beatrice@empktpr.com Web: thedanberrys.com

Contact: serenawiley5@gmail.com Web: serenawiley.com

Contact: Amanda@TrendPR.com Web: anthonylazaro.com

Contact: Reedw65@gmail.com Web: reedwaddlemusic.com

Contact: matt@directartistmanagement.com Web: malindakathleenreese.com

CRITIQUES OF

2020

MOODBAY - 8.2

Contact: hello@moodbay.com Web: moodbay.com

ALL SYSTEMS KNOW - 8.4

NARIMÁ - 8.3

ZACH PHILLIPS - 8.2

BRANDON ANDRE - 8.4

TAWNY ELLIS - 8.2

SPROCKETS - 8.2

CHADWICK JOHNSON - 8.4

ANALOGUE SPIRIT - 8.2

HOTBOI TY - 8.2

QRO - 8.4

THE UNBROKEN - 8.2

BRANDEN & JAMES - 8.2

Contact: allsystemsknow@gmail.com Web: allsystemsknow.bandcamp.com

Contact: info@brandonandremusic.com Web: brandonandremusic.com

Contact: scott@powderfingerpromo.com Web: chadwickjohnson.com

Contact: qro.theartist@gmail.com Web: spotify.com

Contact: narim.kim@gmail.com Web: narima-atmos.bandcamp.com

Contact: tawnycash@gmail.com Web: tawnyellis.com

Contact: analoguespiritmusic@gmail.com Web: analoguespirit.com

Contact: tamas@theunbroken.band Web: theunbroken.band

Contact: zach_music@hotmail.com Web: zachphillips.com

Contact: brodieknightsawyer@yahoo.com Web: sprockets.bandcamp.com

Contact: powerseatmusicgroup@gmail.com Web: spotify.com

Contact: brandenjamesmusic@gmail.com Web: brandenjames.com

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TOP PROSPECTS 2 0 2 0 CAROLENA - 8.2

NOAH GABRIEL - 8.0

TIN TOY CARS - 8.2

ARIELLE SILVER - 8.0

KAWIN KORNTHONG - 8.2

WHITE WATER RAMBLE - 8.0

SKENDER BECK - 8.0

SIOBHAN O’BRIEN - 8.0

SOMERSAULT QUEEN - 8.0

YOUNG TRAP - 8.0

VINCENT - 8.0

THE GARY DOUGLAS BAND - 8.0

JULIAN FRAMPTON BAND - 8.0 Contact: booking@julianframptonband.com

JIZZLEJAAYE - 8.0

Web: julianframptonband.com

Contact: sixthecompany96@yahoo.com Web: soundcloud.com

ELECTRIC ALOHA - 8.0

RACHEL TROUBLEFIELD - 7.8

SIXFOXWHISKEY - 8.0

JUSTIN HOWL -7.8

TOBY - 8.0

THE RIVER CURLS AROUND THE TOWN - 7.8

Contact: carolenamusic@gmail.com Web: carolenamusic.com

Contact: portermusique@gmail.com Web: tintoycars.net

Contact: kawinkornt@gmail.com Web: kawin-kornthong.bandcamp.com

Contact: info@SkenderBeck.com Web: skenderbeck.com

Contact: somersaultqueen@gmail.com Web: somersaultqueen.com

Contact: vincegenius@icloud.com Web: instagram.com/vincentvanstealyohoe

Contact: mikehalland@gmail.com Web: electricaloha.com

Contact: sixfoxwhiskey@gmail.com Web: sixfoxwhiskey.com

Contact: james@reybee.com Web: soundcloud.com

Contact: noah@noahgabriel.com Web: noahgabriel.com

Contact: amanda@trendpr.com Web: ariellesilvermusic.com

Contact: patsites@comcast.net Web: whitewaterramble.com

Contact: beatrice@empktpr.com Web: siobhanobrien.com

Contact: trapyoung@gmail.com Web: spotify.com

Contact: mgowen@milestonepublicity.com Web: soundcloud.com/the-gary-douglas-band

Contact: booking@racheltroublefield.com Web: racheltroublefield.com

Contact: info@justinhowl.com Web: justinhowl.com

Contact: therivercurls@gmail.com Web: therivercurlsaroundthetown.com

TO GET YOUR MUSIC CRITIQUED IN 2020, CHECK OUT “GET REVIEWED” AT MUSICCONNECTION.COM 48 December 2020

musicconnection.com

50 BEST CAREER TIPS

OF 2020

FOR THE ARTIST 1. It is always interesting to write with people you’ve never met before. You introduce yourself, and start laying your whole life down. You have to get past vulnerability being an embarrassment. In the songwriting community you have to not care. – Maggie Szabo Songwriter July

2. Constantly create. Put music out. Create content. Play shows. Do everything you can to get your music out there. Don’t hold onto it. Let people hear it. – Ian Cripps

VP of A&R at Atlantic Records January

3. Whenever there is emotional intensity in the environment, we can connect better to music. It can be much more meaningful. – Jono Dorr Songwriter September

4. I thought when I signed a record deal that all my worries would go away, but the race never really stops—it just gave me a launch pad. – Madison Kozak

Country Singer-Songwriter March

5. It’s good to have songs that mean more than one thing. – Tatiana Owens

Songwriter April

BISHOP BRIGGS 8. There is power in building your brand, especially when it comes to getting signed, because the artist development is done. There is a mutual respect and you will get a fairer deal simply because they assess the fact that you could do this by yourself. – Chika Rapper June

9. Play out as much as you can, play in front of as many real people as you can and get good on the Internet. – Allen Stone Songwriter April

Compiled by Jacob Trask

Music Connection readers know that MC is the place to go for career advice and industry insights directly from experts and fellow music-makers. Listed below are what we believe to be the very best career tips we’ve published during the past year. Each quoted tip cites the month it first appeared on musicconnection.com.

THE FLAMING LIPS 6. Bands should just focus on making great songs they want to listen to and let the rest take care of itself. And the more songs you write, the better you get. – Jake Round

Founder of Pure Noise Records June

7. [Songwriting] isn’t so much about having a thick skin as much as it is about showing all of my skin. And in showing it, people will feel less alone in theirs. – Bishop Briggs Singer-Songwriter January

10. Trying to be famous is just crazy. There’s no way you can control that. But you can control the music you make. You have to hope you get lucky and when it happens that you’re able to deal with it. – Wayne Coyne

The Flaming Lips September

11. A bridge relieves you. Choruses get old. I like two verses, a bridge, a third verse and then out. You can do all of your damage right there. – Dan Penn

Songwriter October

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12. Make music on your laptop and distribute it on the net, and build up an audience that will show up live or pay for a stream. It’s hard to monetize the recordings themselves, unless you land a commercial. – Todd Rundgren Multi-Instrumentalist Singer-Songwriter May

16. Most of the people who are technically savvy are usually not the best artists. The most important thing in any art form is that you’re able to make the art. It’s still all about the song. – Jim Demain

Mix Engineer (Jimmy Buffett, Elton John) October

17. You don’t really understand the way [audio gear] works until you have your own and do it yourself. – Brian Tarquin Guitarist-Composer-Producer May

18. There is this saying ‘you’re only as good as your last record’––but only if you make it about your last record. People need to know your skill set. That’s what longevity is. – Ellis Miah Producer (BTS) May

19. You can learn a lot through instructional videos. My ears are there from making records for my entire adult life, but as far as understanding how the gear really works, it’s like I went back to school. – Adrian Young

Drummer-Producer (No Doubt, Moxy Brothers) June

ADRIAN YOUNG 13. If you’re doing something just because you think it’s hot at the moment, I don’t think that works. What translates is the passion podcasters have for what they’re talking about. – Codi Fischer

Managing Producer at Earwolf Podcast Production Company February

14. You never know where a song is going to fit or just end up, and how people are going to hear it or experience it. It’s always different. It’s never just the same formula. – Trevor Dahl Cheat Codes March

musicconnection.com

Producer (Alicia Keys) July

21. You can have a really janky amp or drum set, but if you’ve got a great drummer, it will sound good. – Adrian Young

Drummer-Producer (No Doubt, Moxy Brother) June

22. Learn how to not fatigue yourself. Have a fresh ear. Don’t work all day. Hang out, talk and have fun. When you come back, you’ll be rejuvenated. – Ethan Gruska Producer March

BRIAN TARQUIN 24. You should absolutely build your own studio. It doesn’t have to be expensive or fancy. Many of my amazing ideas come early in the morning or late at night. So it’s important to have this creative outlet in your house and not just go to a studio. – Jessica Audiffred DJ August

25. Less is more. Sometimes things are just fine with a drum groove, bass and melody. You may not need all of the bells and whistles. – Brian Tarquin Guitarist-Composer-Producer May

ETHAN GRUSKA

27. The test of a good monitor system is how it sounds on other speakers. The first place I go is out to the car and take a little ride. – Flying Lotus

Producer/DJ September

28. Get the production right. There is no rush, especially if this is your first recording. I know we live in an instant gratification world, but live with the mixes and performances for a while before releasing them to the public. – Brian Tarquin Guitarist-Composer-Producer March

Producer (Lou Reed, U2) November

15. When you work with somebody else, you can be inspired immediately by them. With my own stuff, I can be my own worst enemy. As a producer, you can have a fresh-ear perspective. – Ethan Gruska

50 December 2020

23. Even if it’s not good that day, I still try to finish. It’s going to be a bad [session], but you still did it. If you just lie in bed all day, you’ll get in the habit of not [working] when you don’t feel like it. – Morgan Matthews

20. If I’m hired as an engineer on a project, even though I might have opinions [on the production], it’s important that I keep them to myself. The producer is the one who’s supposed to express an opinion. – Marc Uselli

FOR THE PRODUCERENGINEER

Producer (Manchester Orchestra, Fiona Apple) March

TRIPPIE REDD

26. It’s all about comfort. Sometimes people get equipment because they see other people using it. You need to know what works for you. I bought some beat machines one time and it just confused me; it took me away from what I was used to. – Justin Mosley

One-half of producer duo Mosley (Post Malone, The Game) August

29. There’s only so much room for repetition and OCD in the studio. Leave space for magic. Be ready for those moments. – Caroline Jones

Singer-Songwriter October

30. Do your research. I listened to Lou Reed’s entire discography multiple times so when I went into the studio with him I knew everything he’d done. – Marc Uselli

Producer (Lou Reed, U2) November

TAKING CARE OF BUSINESS 31. Get [A&R] who really believes in your art and is passionate about it. Even when an artist has a long, successful career, there are going to be a lot of valleys. You need someone who’s happy to push through those valleys. – Mark Chipello

VP/Head of A&R at Position Music January

32. Make every effort to respect other artists’ copyrights, and hopefully other people will respect your rights too. Copy-

40. You won’t always get paid. You’ll get burned, stepped on and screwed, but keep going if you want to do this. – Morgan Matthews

45. Focus on yourself. Stop looking at other people’s Instagram. Stop worrying about other rappers. Worry about yourself. – Caroline “Baroline” Diaz

41. [Composers], the smart thing to do is write all the songs you can, so when [Film/TV execs] are looking, you’ve got a big old bag of goodies. – Jack Williams

46. Leave your ego at the door. Who you are as a person will define who you are to the members of the industry and whether anyone wants to work with you. – Madonna Wade-Reed

FOR THE MASSES

47. Even if you don’t have projects going on, [work], so when opportunity arrives, you’re ready to dive in. – Inon Zur

Producer (Alicia Keys) July

Senior Director of A&R at Interscope January

Music Supervisor October

Composer November

42. Don’t mortgage your entire present for a future success. I think it’s our personal responsibility to continue our growth through engaging in new challenges … As stressful as the “down times” can be, it’s important to continue to create and to expand your body of work as your unique self. – Tyler Bates

CAROLINE DIAZ right gives people an incentive to create, and without incentive, it especially makes it hard for new artists to thrive. – Bobby Borg

Composer-Songwriter January

43. Anticipate and plan for the unexpected—you don’t want circumstances making your decisions for you. – William Honaker

Author-Music Business Professor November

33. You need to get yourself a good lawyer and you need to make sure you have a great relationship. Sit back, pay attention to what people say, and don’t be too anxious to say things. – Trippie Redd

IP Specialist and Patent Attorney November

44. If the label wants to sign you, you’re not gonna turn them off by asking questions or understanding it. A contract in its nature is a commitment. And while you may be excited in the moment, I think it’s really important to take a step back. – Craig Breitsprecher

Rapper February

34. People want to feel heard and noticed on social media. Of course, branding and building your profile is important, but the work does not stop there. Engaging in meaningful interactions with your community comes hand-in-hand if you want to truly cultivate a strong network of followers. – Helen Kim

Social Media Consultant May

Bass Player of Fires in the Distance September

37. It’s easy to fall into the trap of trying to repeat your previous success. – Armin Van Buuren

36. If we’re not making a lot of money through Spotify, developing a relationship with people and building your following from the grassroots level is important. As far as selling your music, you just have to put the elbow grease into it. – Jennifer Westwood

Author-Music Business Professor September

Jennifer Westwood & The Handsome Devils April

48. It is crucial right now to be proactive, not reactive. This season offers unique opportunities, and the artists who aren’t afraid to pivot and move forward, taking even one step each day, will build a solid career and stable income on the other side. – Bree Noble Musician-Entrepreneur May

49. If you want to try something and it fails, it’s okay, because you gave it a go. – Kevin Parker

aka Tame Impala November

50. Be flexible. Take feedback and notes. You can go into something and be so sure that it works. Then other people may tell you that it doesn’t. – Codi Fischer

Managing Producer at Earwolf Podcast Production Company February

BOBBY BORG

35. When seeking out a manager, try to get to know the person first and their background and experience. See if they are truly interested in you and your career. If you are just starting out, you probably won’t be able to attract an established, successful manager. – Glenn Litwak

Music Attorney June

Composer February

DJ-Producer April

38. Become an expert at everything to do with the fine art of communication. If people like you they will want to do business with you. – Bobby Borg

39. The process of collecting music and clearing music [for use] is sort of done on a case-by-case basis; everyone has a different process. – Shellie Lewis

Business Development Manager at SyncFloor May

TAME IMPALA December 2020

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OUR FAVORITE SIGNING STORIES

2020

As major and indie labels continue to sign new talent to their rosters, MC’s Signing Stories area has maintained its prominence as a go-to place for invaluable insights and advice about how to get signed and what artists can expect from the experience. Here, then, are some of the more instructive signing sagas we published during 2020. LIL TJAY

LIL TJAY

Label: Columbia Records Type of Music: Hip-Hop Management: Clayton Barmore, Deon Douglas Booking: Jordan Stone - APA Agency Legal: Jeffrey Seth Koenig, Esq. - Serling Rooks Ferrara McKoy & Worob, LLP Publicity: Winnie.Lam@sonymusic.com Web: liltjaymusic.com

MARCUS KING

Label: Fantasy Records/Easy Eye Sound Type of Music: Blues/R&B/Rock Management: AMFM Management Booking: WME Legal: Kent Marcus Publicity: Doug Hall, doug@bigfeatpr.com Web: marcuskingband.com A&R: Joe McEwen Marcus King’s signing story is a classic example of a budding artist who realized he had a lot to learn if he was ever to realize his dreams. King attended high school in South Carolina, worked odd jobs and gigged with bands on weekends. “I was getting a lot of experience and trying to work my way into the clubs,” he recalls. “I hired a band that was all older musicians and professional cats. I’d work out deals to allow bands to be my chaperones. In those early days it was a lot of movin’ & shakin’ and learning a lot of lessons too.” When he was barely 18, he formed the Marcus King Band and toured relentlessly. One night they had the opportunity to play in Nashville for a “New Faces” showcase. Fantasy Records A&R rep Joe McEwen was in the audience and signed them on the spot. Says King, “I had it very clear in my mind at a young age that the only person who could hold me back would be me.” After three albums, King stepped out for a breakthrough solo debut, El Dorado, in January 2020, on the Black Keys’ Dan Auerbach’s Easy Eye Sound imprint. Explains King of working with Auerbach and company, “They helped me build a record around a story that needed to be told on my behalf.” • 52 December 2020

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Lil Tjay’s signing story is remarkable for how quickly he developed into a signable act, one that would go on this year to be a platinum-seller with his debut album, True 2 Myself, on Columbia. When we asked him about his speedy success, Tjay told us he always knew it would happen. “I started making music, like, two years ago, and I knew it could be for real before I even started. I always felt like I could do it.” His self-confidence has been validated by the new 17-track album, featuring guest appearances from Lil Wayne, Lil Baby, Jay Critch, Lil Durk and Lil Tjay’s label-mate, Rileyy Lanez (and if that sounds like a lot of Lil’s to you, you’re not alone). His streetwise style brought him to the attention of Columbia Records, and they couldn’t ignore him. “I literally was thinking of different labels and mentioned them in conversation,” Tjay says. “I just trusted it. My name was bubbling up in the streets—that’s how they heard of me.” •

BABY GOTH

Label: Republic Records Type of Music: Pop Booking: Paradigm Publicity: Amaiya Davis Web: facebook.com/babygothofficial As web apps have become a potent force in the music world, more than a few artists are making a DIY splash on platforms such as Instagram. “I’ve always wanted to do music,” says Baby Goth, “so I started using Instagram as a platform to do covers, so I could get a reach. That opened up doors where I could take more of a professional approach to my career.” Yes, social media seems to be the route to success nowadays––becoming an influencer and getting that reach. Still, Baby Goth was surprised by the success of her self-titled debut EP. “That was unexpected,” she says. “I’m lucky

to be able to do what I want to do for a job. All the people I met working with Trippie Redd––we even did some records that aren’t released with Diplo––so I just met some really cool people and fed off of their artistic energy and methods.” That EP came out on Republic Records, a label she chose because they were supportive from the beginning. It’s certainly a long way from living in Colorado, unsigned, recording covers to post online. “I ended up picking Republic because I felt they were really supportive of what I wanted to do and not what they wanted me to do,” she says. “They told me, ‘Everything that you are, we’re going to amplify it,’ and I love that.” •

FIRES IN THE DISTANCE

Label: Prosthetic Records Band Members: Kristian Grimaldi, guitar, vocals; Craig Breitsprecher, bass, vocals; Kyle Quintin, drums; Yegor Savonin, guitar, keyboard Type of Music: Melodic Death Metal Legal: John Mason - Copyright Counselors Publicity: Becky Laverty, Becky@pioneermu sicpress.com Web: firesinthedistance.com A&R: Steve Joh, Sjoh@prostheticrecords.com It’s 2020. And you’re probably sheltering-inplace. If you don’t have a full album ready to shop, what exactly are you waiting for? Take Fires in the Distance, for example. As bassist Craig Bretsprecher explains, having a package ready to release likely played a role in their signing to metal label Prosthetic Records. “We already had the artwork ready to go, the CDs pressed. ... They didn’t really have to take on a whole lot of risk, because this album was definitely coming out.” And since the band had already funded the production of their debut LP, Echoes From Deep November, they could use the label’s advance money to reinvest in the album’s marketing and boost their live stage presence, and so on. But how did the band connect with the label in the first place? “I noticed Prosthetic followed us on Instagram,” Bretsprecher amusingly

FIRE IN THE DISTANCE admits. “I was like, ‘I think I should hit these guys up!’” Prosthetic’s A&R rep Steve Joh confessed he was a fan who pre-ordered the album based on friends’ recommendations. Bretsprecher seized the moment and sent Joh a Dropbox link of the finished album. Not long after, Prosthetic drafted Fires in the Distance a three-album contract. Before signing, the group consulted with a contract attorney and a signed band to look over the offer. Explains Bretsprecher, “If the label wants to sign you, you’re not gonna turn them off by asking questions or understanding it. A contract in its nature is a commitment. And while you may be excited in the moment, I think it’s really important to take a step back. ... It’s one of the most exciting signatures you could put on a piece of paper, but I think it’s all the more important to keep yourself grounded and level, so everybody involved in that contract is getting what they’re looking to get out of it.” •

Chika’s confidence led her to the Calvin Klein #MyCalvins campaign in Spring 2019, followed by the single, “No Squares.” Performances at Coachella and on Jimmy Kimmel LIVE! came soon afterward. She then toured Los Angeles, visiting labels to find the best fit, which turned out to be Warner Records. She knew what she wanted and an agreement was crafted around creative license and artistic support. “There is power in building your brand,” Chika says, “especially when it comes to getting signed, because the artist development is done. There is a mutual respect and you will get a fairer deal simply because they assess the fact that you could do this by yourself, so if you’re going to do it with them, they had better make it worth your while.” •

BLOOD FIRE AND RAINWATER

Label: Redact Records/Universal Music Group Band Members: Jack Rainwater, guitar, vocals; Tony Dauley, drums, percussion Type of Music: Blues/Rock Publicity: Amy B. Taylor, delilahentertain ment@gmail.com Web: redactrecords.com

CHIKA

Label: Warner Records Type of Music: Rap/R&B Management: Elena Awbrey - Tiger Eye Management Booking: Caroline Yim - CAA Legal: Julian Petty - Warner Records Publicity: Aishah White - Warner Records Web: officialchika.com A&R: Chris Morris and Norva Denton - Warner Records Los Angeles-based Alabama transplant Jane Chika Oranika was determined to pursue music since childhood. She taught herself guitar, took piano lessons, and shared cover songs on YouTube from age nine. Eventually she earned a scholarship to attend Berklee College of Music. A 2016 post, following Donald Trump’s election, brought 17,000 followers and her video blasting Kanye West’s support of the president also went viral. “Once you have an audience,” she says, “you need to understand why they followed you,” and she continually challenged herself to keep writing and improving her craft.

CHIKA

cision to go with a major label. “I wanna get my music in the hands and ears of as many people as possible. All you really have in the music industry is your legacy, and what you create.” •

CHRISTOPHER TIN

Label: Decca Gold Type of Music: Classical Management: Claire Long - Music Productions, Ltd. Booking: Claire Long - Music Productions, Ltd. Publicity: Ashley Natareno - Decca Gold Web: christophertin.com A&R: Graham Parker and Lynn Lendway Decca Gold, Ltd. Two-time Grammy winner Christopher Tin wasn’t looking for a record label. Indeed, he didn’t even need one. Instead, he independently crowdfunded and released albums under his name. Beyond that, his artist career remained supplemental to demand for his skills as a choral and orchestral composer for film and video games. Then Tin signed with Music Productions, Ltd., a management team based in the U.K. The firm’s Claire Long and Meg Davies determined the Chinese-American conductor had promise as a major-label artist and floated Tin by Decca Gold, the classical-focused division of Decca Records owned by Universal Music Group. “I’m the type of person who likes to swim within a large ocean,” he discloses. “And the idea of working with other Decca artists really appealed to me.” Cleverly, Tin accompanied demos of his new material with a detailed description of his newest album’s conceptual framework. Combined with his social media engagement, independent output and raft of awards, the move made him

BLOOD FIRE AND RAINWATER A&R: Christopher Haley The 2020 Redact Records release Don’t Hoodoo Me by Blood Fire and Rainwater is not singer-songwriter-guitarist Jack Rainwater’s first rodeo. The Seattle-based band, which also features drummer Tony Dauley, delivers raw and vitriolic blues-rock with road-tested bravado. Both Rainwater and Dauley have honed their craft in nightclubs and dive bars since the early ‘80s. “I knew Tony through the rockabilly and car club event scene,” says Rainwater. Rainwater partnered with long-time friend and Redact Records label head Christopher Haley. When he began recording tracks at Haley’s studio he had no idea what direction the music would take him. “I was going through a breakup and Chris said, ‘I bet you’ve got a couple songs in you. Let’s record a couple tracks,’” recalls Rainwater. “After we got about three or four songs in, it just kind of happened organically. We had a little money to throw at a record and so did he. So, it started as a couple friends working on a project and evolved into this band.” Haley was so impressed by how the recording sessions were going with Rainwater and Dauley that he offered to debut Blood Fire and Rainwater as his label’s maiden voyage. With all the in-house promotion and full-service production from Redact, and distribution by Bungalo Records/Universal Music, the duo was on their way. “I’ve toured in vans and sold merch at shows for years. But after a while you tend to play to the same people and top out. There’s got to be someplace else to go to reach new people and spread that love,” opines Rainwater on the de-

CHRISTOPHER TIN an irresistible addition to Decca’s roster. “Specifically in the classical world, unless you have a concept, it’s very hard to market an album,” Tin explains. “A project based around a theme, story or idea gives a lot more angles for the press team to run with.” Tin came to the negotiating table with specific ideas regarding the contract’s structure. Still, Tin acknowledges the difference between what he knew and what he thought he knew. “My concept of how one puts out a release has been completely turned on its head,” he states. “You look back on how you did things before and say, ‘You knew nothing. This is how things are really done.’” Tin’s Decca debut album, To Shiver the Sky, debuted on Aug. 21st. •

COMPILED BY MC SENIOR EDITOR

MARK NARDONE December 2020

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“This is an unprecedented time.” “We’re all in this together.” “Welcome to the new normal.” These are all talking points that have consumed our collective consciousness since the global pandemic hit in early March 2020. Here in the United States, no matter your politics, the pandemic has affected every walk of life and all aspects of business. One of the hardest hit has been the music industry. The National Independent Venue Association reports live events provide 75% of all artists’ income and that, while nearly 90% of all U.S. businesses have reopened in some capacity, many independent venues remain shut. However, in the following article, instead of ruminating over the obvious chaos and pervasive hardship the pandemic has caused for artists, bands and venues across the country, Music Connection examines creative ways folks ABBIGALE ROSE are beating the odds and moving things forward. Mike Wagner is an independent drummervocalist from the central Michigan community of Houghton Lake. He and his son Jimmy front the popular James Michael Duo. They perform at a number of resorts and open-air venues throughout the state. “We were fortunate because almost all of our gigs this past summer were at outdoor venues,” recalls Wagner after this past Memorial Day weekend when a number of northern Michigan bar and restaurant bans were lifted. “It was tough when the lockdown first came about. One of my last gigs was March 11th, and then we were pretty much off for 11 weeks. I’ve never had that much time off in my whole career. It was starting to get depressing. But I really can’t complain. A lot of my friends weren’t working at all this past summer. A lot of them had fuller bands and were booked at indoor clubs.” Wagner has found that diversity––and remaining mobile and compact––has kept him working through current precarious times. “We had a great summer, but as it gets colder things taper off,” says the percussionist. “Since we live in a resort area we’ve been busy. Even before COVID hit I always would book two to three months in advance. And with our duo, and even 54 December 2020

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a trio, it’s been a little easier finding work.” Solo performer Abbigale Rose is an awardwinning singer-songwriter from Toledo, OH. As a full-time musician she has been weathering the pandemic doing porch concerts, livestream events, coffeehouses and clubs to pay the bills. “Generally speaking there’s usually enough distance between me and the audience on stage,” comments Rose on personal protocols as a solo performer. “I make it a point to tear down my own equipment. I carry hand sanitizer and always make a point to wear a mask whenever I’m not behind a microphone.” And she says she is working hard doing promo, trying to book gigs and working on songs. “Things don’t just fall to you. You have to put effort in. But getting a fifty percent return on that this year has been hard.” However, Rose sees a bright spot in her personal approach to performance. “Solo acts have a real chance in this climate,” she says. “Compared to bands, solo acts seem to be more economically efficient. So, probably in the winter months, hopefully, solo acts will be preferred.” “There’s a lot of potential here but I don’t know what that potential is yet,” adds Rose. “The larger musicians are doing drive-in MICHELLE LORDI concerts but smaller musicians like me don’t have that. You’ve just gotta be willing to hustle for it and experiment.” Michelle Lordi is an award-winning jazz singer-songwriter from Philadelphia, PA. In addition to being an artist she is also a promoter who has run a weekly jazz gig in suburban Philadelphia for six years. When the pandemic hit, Lordi swiftly sprung into action to find alternative outdoor spaces with ample social distancing. She offers her unique perspective on the changing face of jazz presentation today. “We’re used to improvising in our music and in

life,” says Lordi. “For the jazz world, I think a good thing that will come out of this pandemic is a better focus on the audience and an effort to make things more entertaining and visually appealing. Jazz has suffered a bad reputation as being boring or aloof. But I think that you’re gonna see a lot of innovation and flexibility coming out of jazz. I also see a lot of hope when you have that ability to adapt. This pandemic is dire, but it’s not the end.” Also Lordi poses relevant questions she, and many of her colleagues, face every day. “The issue of livestreaming is a wake-up call to artists to get your fan base organized,” says the songstress. “If Facebook or YouTube are not viable options, see if you can you get your fans over to Patreon or another streaming service. Are your fans willing to pay to see you? It’s about trying to connect with an audience on many levels. It’s a new landscape and we’ve got a lot of figuring out to do.” One presentation avenue that seems to be gaining popularity in these socially distanced times is the drive-in concert. City National Grove of Anaheim and Nederlander Concerts are one of the originators of this concept, with their “Drive-In O.C.” series. “The pandemic has been devastating to the concert business,” says City National Grove general manager Jordan Harding. “But like everybody, we’re trying to think outside the box and find ways to find fans with live entertainment experiences. With drive-ins, we’ve essentially created a venue outside of our venue, with a contactless model to host events.” Launched this year in July, “Drive-In O.C.” brings live music and movies to fans in the comfort and safety of their own vehicle. From ticketing to concessions and restrooms, they’ve left no stone unturned. “Before fans arrive they can order meal kits and snack boxes when they purchase tickets,” explains Harding. “Upon arrival we scan their tickets and then direct them to a parking spot. And then they receive a welcome card, with information on how to access food, beverage, merchandise—all of which is ordered via the app we built—and delivered to

BY ERIC HARABADIAN

their vehicle. Fans also have about 150 square feet of space so they can enjoy a show next to their car. If they need to use the restroom they can enter our virtual queue and we notify when it’s their turn to use the restroom. There we regulate capacity, we take temperatures of guests and everything is sanitized.” With upwards of 30 drive-in concerts under their belt, Harding and staff have found the shows to be quite rewarding. “We launched this series in Anaheim at City National Grove,” says Harding. “And over time we’ve perfected and honed our model. Now we’re focused on exporting and hosting other drivein concerts nationally.” Richmond, VA’s Broadberry Entertainment has adopted and had success with the drive-in concert model as well. The company has hosted a number of socially distanced events at large and currently dormant sports stadium parking lots throughout their immediate region. A number of safeguards are, of course, in place. And Broadberry co-owner and talent buyer Jessica Gordon discusses some of the challenges in making these kinds of shows happen. “The amount of work that goes into booking and producing one of these shows is the equivalent to booking 30 shows in the old days,” she says. “ To take an empty parking lot and turn it into a venue—especially a production heavy band like GWAR, which we had here recently—is an incredible amount of labor and work, both in advance of the show and the day of the show. There is no infrastructure, so it’s very expensive and time consuming.” Despite the inherent challenges, one of Broadberry Entertainment’s more sucGWAR cessful events was the return of the infamous heavy metal creature feature GWAR this past October at the Diamond Drive-In in downtown Richmond. GWAR is celebrating the 30th anniversary of their album Scumdogs of the Universe and they brought all the mayhem and madness one would expect. “It was nice to play in front of an audience of automobiles instead of human beings,” says one of GWAR’s head honchos,

Blothar the Berserker. “We find automobiles much more attractive than humans anyways. But it was no different than the Warped Tour or some big festival. It was just an ocean of cars.” GWAR’s show is very theatrical and involves dousing the audience with various disgusting liquids. But, despite the socially distanced arrangement of the premises, Blothar and crew seemed content with the outcome. “Actually the audience wasn’t that far away from the stage and we had a barricade in front,” says the berserk one. “We were able to hit the front row with the liquids. For GWAR, the challenge is being able to maintain the messiness of the show. But the sound was great and I liked the fact that people could tune in to their car radios like an old-fashioned drive-in movie.” Crooner’s Supper Club is an award-winning venue and one of the top jazz showplaces in the Midwest. The Minneapolis club is run by Ian and Andrew Walesch and their attention to detail—from BILL GRISOLIA implementing safety practices to the comfort of their guests—is impeccable. Like a lot of venues, when the pandemic hit, there was a lot of reworking of their business model. “We’ve had about 200 shows since June 1st,” says Ian. “I don’t think there’s anyone doing what we’re doing right now.” The brothers started in June as a drive-in situation, with room for about 80 cars. But, after a time, feedback from guests leaned more in favor of socially distanced table seating. So they set up large tents that could house around 180 patrons and they kept the drive-in component in a limited capacity, as well. With a number of venues currently dormant because of the pandemic, Crooners is one of the few in the Midwest that is actually thriving. “Many people have told us it was their first time out since March,” says Andrew. “When people

decide to trust us with this experience, we not only want them to feel safe but receive good service. We want it to be a special night.” Finally, Bill Grisolia is a blues-rock vocalist/keyboardist and bandleader that wears many hats. As president of the Long Beach Blues Society and a member of The New Blues Revolution, he is a community activist, festival promoter and video producer. When the COVID lockdown emerged Grisolia hit the ground running. “We had to pivot,” he says. “We began to emphasize other things that are part of our careers as artists, like songwriting and working on a new EP. We shifted our live performances to video and also did more fundraising and direct relief. I’ve also done over 100 videos on my Bill Grisolia Facebook page called ‘The Daily Dose’ where I sing solo and play piano.” Some of the community oriented programs Grisolia has spearheaded and maintained during the pandemic include “Blues in the Schools,” “Blues for Vets” and “Blues for Seniors.” And, a number of these programs have an online component as well. “We’re very proud of a program we put together called ‘Give a Gig,’” continues Grisolia. “We realized there were a lot of musicians not getting gigs, so we started this program to get them direct relief—gas cards, money, food and food cards. We raised about $10,000 and we probably benefitted about 40 families. It was a way to help the southern California community.” Grisolia, whose upcoming new EP is called Purple Heart, has been hosting blues jams again in the Long Beach area with The New Blues Revolution. “Since we have pivoted we are looking for additional ways we can create and perform for the public,” concludes Grisolia. “We want to engage the public in our performances, even include them in the writing process. And that will only lead to additional creative output—songs and the like—which, hopefully, will help us come together.” • Click here for a list of companies & organizations that provide help and services to musicians affected by the pandemic.

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BAO

Perpetual Heartbreak

Self-released Producers: BAO, Davy Pelletier, Taylor Shechet and Sunrise Transparence

Told Slant

Point the Flashlight and Walk

Label: Double Double Whammy Producer: Felix Walworth

Bao Vo, the brainchild behind synth-pop act Ming & Ping, set out to create a record untethered from convention and the result is Perpetual Heartbreak, a lavish hunk of whirling notes and supernatural feel. The Vietnamese multi-instrumentalist dives headfirst into the personal on tracks like “Far Away,” which explores cultural rootlessness. For pure audible bliss, however, nothing surpasses the Jamiroquai-inspired funk of “Burn It Down.” However receptive you are to Bao’s emotional intimacy, his inspired and flowing sound shapes will absolve you of psychic pain. – Andy Kaufmann

Felix Walworth, aka Told Slant, has shown clear growth on their third full-length release, with complex compositions that make harp, banjo, contrasting harmonies and sonic swells sound at home in signature sparse arrangements. Album-opener “Meet You” and “From the Roofbeams” seem to glow from a huge concert hall, despite certainly being the result of meticulous reverb on bedroom microphones. “Flashlight On” contains the mantra that gives the album its title: I just wanna get lost/Point the flashlight and walk. For nearly a decade, loyal fans have longed for these repeated lines, which become themes and tattoos and quiet chants at live shows. – Joseph Maltese

Busta Rhymes

World Goes Round

Extinction Level Event 2: The Wrath of God

World Goes Round

Viper Records Producer: Tommy Vicari

Conglomerate/Empire Producer: Various ELE 2 is Busta Rhymes’ 10th studio album to date and is by far his most puzzling one yet. With over 30 years in the rap game, Busta retains lyrical versatility, blending old school and new school hip-hop with pop, making ELE2 as colorful as it is. Twenty-six hard-hitting tracks, and ELE2 is the most relevant hip-hop album of 2020. This album features appearances from Chris Rock, Minister Louis Farrakhan, Mariah Carey, Mary J. Blige and Kendrick Lamar, among a handful of other notable artists/celebrities. – Adam Seyum

In 1989, a supergroup of behind-the-scenes industry vets got together at co-lead vocalist Frank Musker’s Laurel Canyon studio to record an album of lush ballads and peppy pop-rockers for an album that never got released––until now! Discovering an old cassette led to the fascinating resurrection of the musical magic and chemistry created by Musker, Elizabeth Lamers (co-lead vocals), Jeff Hull (keys/drums/bass) and Marty Welch (guitar). Though Tommy Vicari’s production is super ‘80s specific, its retro charm will inspire a closer listen to songs whose themes often meet our current challenging moment in compelling, thought provoking ways. – Jonathan Widran

Conway the Machine

Yes

From King To A God

Griselda Records Producers: The Alchemist, Daringer and more Griselda is a collective consisting of three seemingly old-school rappers who deliver crafty beats from top-tier producers and absolutely filthy lyrical talent. The group consists of Westside Gunn, Benny the Butcher, and Conway the Machine, who recently released a high-powered showcase of hot tracks, From King To A GOD. Conway is excellent, flowing effortlessly and delivering unreal bars and twists of phrase over silky beats by The Alchemist and Daringer. There’s no hooks here, no filler. Just bars, with features from Conway’s Griselda counterparts. Listen for Conway, WG and Benny on the best song of the album, “Spurs III.” – Jacob Trask

Rough Church

Emergency Breakthrough

Nocturnal Sol Producers: Joel Jerome, Andrew Bush, Manny Nieto and Marc Doten Back before cell phones and the like, an “emergency breakthrough” was when an operator would interrupt a phone call to convey an urgent message. And that’s the case here with this outfit. Their message is diversity and busting musical barriers. Band members have supported H.E.R., Beastie Boys and Ozomati so it’s easy to hear their eclectic approach. “Song for Mom” and “Raging Nation” have timely and quirky punk elements. There’s a cool cover of Johnny Thunders’ “ You Can’t Put Your Arms Around a Memory” and “Christmas in Our Car” could become an alternative holiday classic. – Eric Harabadian

The Royal Affair Tour – Live From Las Vegas

BMG Records Producer: Billy Sherwood July 2019 at the Hard Rock Hotel in Las Vegas proved to be a memorable night as this album documents a band that needs no introduction to classic rock fans. Veteran members Steve Howe, Alan White and Geoff Downes are at the top of their game. Vocalist Jon Davison and longtime bassist Billy Sherwood further capture the group’s enduring legacy and prog status. Rarities like Paul Simon’s “America” and John Lennon’s “Imagine” are remarkable. And the rhythmic density of tracks like “Roundabout” and “Going for the One” stand out as well. – Eric Harabadian

Amber Weekes The Gathering

Amber Inn Productions Producer: Mark Cargill On one of this year’s most imaginatively arranged and produced seasonal offerings, renowned soul/jazz vocalist Amber Weekes brings her mix of charming, playful wit and dreamy, inviting sensuality to a set featuring fresh twists on classics we love (and thought we had heard every possible variation of); a sparkly holiday treatment of a Rodgers & Hart romance (“My Romance”) and a soulful, uplifting original title track that celebrates families and children with a kids choir and lush violin solo by the project’s producer/arranger Mark Cargill. True to its title, The Gathering is a showcase for some of Los Angeles’ greatest jazz talents. – Jonathan Widran

To be considered for review in the Album 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.

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Livestream

Denver, CO

Contact: shyamnepalisarangi22@gmail.com Web: shyamnepali.com Material: Steeped in traditions that produce an ethereal, richly historic sound, Shyam Nepali delivered a captivating livestream performance, highlighting songs from his recently self-produced album, Mero Sarangi. The soft-spoken world music virtuoso delivered a beautiful overview of traditional Nepalese sounds, introducing rare instruments and his own unique musical interpretations. Musicianship: As a third-generation musician following in the footsteps of his father and grandfather, Nepali nurtures his country’s folk traditions while breathing new life into a centuries-old art form. Through smooth playing, a gentle vocal delivery, and a blend of sounds that include nods to the Irish jig, Scottish bagpipes, classical violin playing and Indian dance music, Nepali produces a truly startling and memorable experience filled with a comforting, hopeful energy. Performance: Nepali’s incomparable finger movements and rapid-fire command of his bows, smooth instrumental glissandos, and octave leaps make clear that this is more than a trained musician: Nepali is a passionate messenger. With easy transitions between each of the three instruments played (sarangi, tunga and guitar), this musician demonstrates his dedication to the traditions of his family as well as a genuine passion for the music of his homeland.

SHYAM NEPALI The gentle opener, “Ah Thuli,” reflected on nature and the mountains, while title track, “Mero Sarangi,” combined a tunga performance with haunting vocals and a sad but beautiful story about a Nepalese village. Nepali also shared “Chari Amilo” and “Sani Sani” from his latest album––the latter composed by his grandfather, Magar Kancha Gandharva––each song offering a different rhythm and flavor of Nepal.

Summary: The overall sound comes across as Gaelic musicality meets Bollywood lilt, delivered by a virtuosic musical master. Nepali’s emotion comes right through his fingers, moving across his instruments with no hesitation in a truly masterful performance of elegant sound. Shyam Nepali delivers an incredible experience for any dedicated musician or avid fan of sounds from cultures and traditions beyond their own – Andrea Beenham

Runnin’,” altering the band’s slogan to read, “Oldies, Do-Wop And More.” Musicians: Audio challenges (which the band has acknowledged) made it difficult to get up close and personal with individual instruments, but an overall lively vibe permeated the set. Vocals were split among band members, and while it offered variety Forever Young would deliver a more focused presentation if one or two of the band’s strongest singers were designated the lead singers. Additionally, vocal harmonies could be smoother, especially since many of these golden oldies call for them.

FOREVER YOUNG Livestream

Pomona, NY

Contact: matchpoint@optonline.net Web: facebook.com/ForeverYoungBandNY Players: Stu Iselin, keyboard, vocals; Ira Bernstein, bass guitar, vocals; Peter Karanikis, rhythm guitar, vocals; Barney Griffin, lead guitar, vocals; Bruce Pollack, drums; Ken Conti, sax, vocals Material: While most musicians incorporate some of their musical influences into their own

careers, some embrace them more literally. Such is the case with Forever Young, a group of musicians out of Rockland County, New York. The majority of the group’s members grew up in the ‘50s and ‘60s listening to the music that they’ve been performing for the last 21 years. Featuring period gems like “In The Still Of The Night,” “Runaround Sue” and “At The Hop,” as younger members have joined the ensemble, the repertoire has been expanded to reflect other classics like “Lay Down Sally,” “Pretty Woman” and “Long Train

Performance: It is hard to keep doing what you do unless you really love it, and in the case of this outfit, enthusiasm, and affection for the genre, are loud and clear. There’s also something familiar and comforting when listeners can hear the lyrics and sing along. The band did a good job of introducing each song, and might expand upon that even further, as fans like to know more of the “inside” story about classics that have meaning to them. Summary: There are numerous paths to longevity if you target the right audience and venues. To their credit, Forever Young has managed to keep the act going for more than two decades, performing library concerts, festivals and private events. It’s never a bad idea, however, to tune up the ol’ hotrod, so we urge the band to pay closer attention to nailing harmonies, which is essential to their repertoire. – Ellen Woloshin December 2020

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The Ryman Auditorium

Nashville, TN

Contact: thunderbird@vicsom.net Web: tabbenoit.com Players: Tab Benoit, vocals, guitar; Terence Higgins, drums; Corey Duplechin, bass Material: Tab Benoit, (pronounced, BEN-WAH) is not a rock star. I’m not sure he really wants to be one. He’s a bluesman. Benoit uses no pedals, and only the one Fender Telecaster Thinline guitar. This is an artist whose playing speaks to you as much as the lyrics do. He opened his performance with two rockers, “Why Are People Like That? and “Whole Lotta Soul,” from the albums Brother To The Blues and Medicine. “Nothing Takes The Place Of You,” a ballad, also from Medicine, was riveting, and “Standing On The Banks” may have featured his best guitar solo of the night. “The Blues Is Here To Stay,” tells us why this artist loves the blues. Without the blues, the song says, There'd be no Elvis, no Jerry Lee / A young Eric Clapton would have never crossed the sea. For the classic, “I Put A Spell On You,” Benoit invited opener Samantha Fish to join him, and they traded vocals and lead guitar solos. The two teamed up again for the rocking encore, “Night Train.” This time, the drummer and bassist also took solos along with Tab and Samantha. Musicianship: Terence Higgins did a lot more than just keep the beat. His drumming complements every song with just the right flourishes in just the right places. When given space to do so, Corey Duplechin’s bass playing

TAB BENOIT

came out of the shadows and soared with slaps, pulls and speed that rival anyone’s. But Duplechin is a true musician who knows when to stand out and when not to. Performance: This was a no-frills show. There were no elaborate stage sets, no strobe lights. That’s not necessarily a bad thing. Sometimes theatrics can actually upstage the music. Then again, sometimes a little theatrical entertainment can help. I think it might have here. Samantha Fish opened the show in a shiny jacket and skin-tight leather. Every hair in place. She switched guitars often and relied

heavily on effects pedals. Perhaps too heavily. She was clearly distracted trying to adjust her pedals on one song. What Tab lacked in theatrics he made up for with a warm and disarming stage presence and heartfelt playing. Sometimes angry, sad or even funny. But always the blues. Summary: If you like the blues, you’re gonna like Tab Benoit. This was the artist’s first live show in over eight months. The same was probably true for the audience, and both were clearly thrilled to be there. – John Mollenhauer on his live sound. Thus, when the 27-year-old performs R&B songs like “Hattie’s Boy Intro” and “Survive,” it often comes with an infusion of Southern hip-hop, trap and a gritty brand of lyricism that is native to Southeast Texas. Vocally, Elijah’s pitch rings out similarly to the sound made familiar by soul singer Bobby Valentino, while the rawness of his wordplay is comparable to the subject matter of the late Static Major.

ELIJAH ROSARIO Livestream

Washington, D.C.

Contact: iamesix1@gmail.com Web: instagram.com/iamesix Material: Elijah Rosario is an R&B singer with the storytelling prowess of a rapper from the Dirty South. Every phase of his musical journey has been highlighted by stints in southern cities like Houston, TX and Charlotte, NC. His evolution as a storyteller began nearly a decade ago when he started writing song lyrics on his notepad during lunchbreaks, while working at a fast food restaurant in Kingsland, 58 December 2020

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GA. But emotionally, the trials and tribulations that came with the passing of his mother, last December, have heightened his senses as a creator and fueled his passion for live music. With 10 years of experience under his belt, Rosario has emerged as a live performer who sings and raps. Songs like “Focus Poppin’” showcase that versatility well, while tracks like “My Side (Remix)” are reminiscent of R&B songs by recording artists such as Kirko Bangz in the early 2010’s. Musicianship: Of all the cities where Rosario has lived, Houston has had the biggest impact

Performance: Rosario performed six songs from his latest EP, Hattie’s Boy. Before the pandemic hit, most of his shows featured a live back-up band. But on this day, the artist presented the music all by his lonesome— over instrumental tracks. The young crooner paced back and forth on stage, with a wireless microphone in his hand as he sang his way from slow jams like “Aura” to a stripper anthem called “Vixen.” The most touching moment of this show came when he stopped the music and explained why he wrote a contemporary R&B/neo soul track called “Still” for his wife. He also articulated the way in which the song reminded him of his parents. Summary: The musical journey of Elijah Rosario has endured several bumps in the road. None more powerful than the passing of his mother on Christmas Day 2019. Although these events have shaken his foundation, they’ve also emboldened this artist to sing about his experiences. In this livestream, that boldness was on full display. – Miguel Costa

Will Magid’s baby––a jazz project that blends Eastern European flavors with Latin vibes. It’s wonderfully energetic and joyful, chill in places, and ultimately passionate. Musicianship: The fact that Magid has collaborated with the likes of Talib Kweli, Solomon Burke and Erykah Badu suggests he’s no slouch, and the JTMF set proves it. Splitting his time between trumpet and trusty laptop, he creates a lush, layered soundscape that is easy to just fall into. He’s surrounded himself with quality too; the percussion is beautifully tribal, while the three wind instruments harmonize perfectly. Bliss.

BALKAN BUMP

Livestream

Joshua Tree, CA

Contact: max@vitalicnoise.com Web: sound loud.com/balkanbump Players: Will Magid, trumpet, producer, DJ; Morgan Nilsen, clarinet; Teddy Raven, saxophone; Lis Viegas, percussion Material: The Joshua Tree Music Festival usually takes place twice a year but, as with everything else right now, the organizers are

Livestream

having to think well outside of the box in order to put on any sort of event at all. Unsurprisingly then, they’ve gone virtual for this fall edition and assembled a stellar lineup that includes Jesika Von Rabbit, Thumpasaurus, Afrolicious, Year of the Crow, Heather Christie & Vir McCoy, and Subko. The sets were actually prerecorded in order to get the quality of the stream as high as possible, and it works out well (despite the fact that the festival had to be delayed by a week). Balkan Bump is trumpeter and producer

Performance: The lack of a crowd (besides what sounds like a handful of people cheering between songs) does hamper the energy slightly, through no fault of the band. This is music that would ordinarily feed off of a baying audience, and the band can’t have that at present. But they make lemonade out of lemons. “If you come after me for a hug, I’m gonna run away,” says Magid. “But let’s do it––take a test, wait two days and then hug.” You have to love that attitude, and it’s typical throughout. Magid is an engaging host, getting into the desert fest spirit without falling into a hokey hippie-dippy trap. Summary: It’s easy to like Balkan Bump, even if you’re not a big jazz-head. The music is fun and free, and easy to listen to (as opposed to easy listening). A livestreamed party isn’t a cinch to pull off, so congrats to the Joshua Tree Music Festival organizers and to Balkan Bump for creating something that felt very real and authentically joyous, even while we sat at home wishing for better days. – Brett Callwood

Joshua Tree, CA

Contact: thumpasaurusmusic@gmail.com Web: thumpasaurus.com Players: Lucas Tamaren, guitar, vocals; Henry Was, drums; Henry Solomon, sax; Paul Cornish, keys; Logan Kane, bass; Ben Benjamin, visuals Material: “Mental Karate” is the name of the song that opens this Joshua Tree Music Festival set from funk-rock troupe Thumpasaurus, and it’s a wild and whacky way to kick off a show, blessed with an important message. The world is shit right now––cut yourself, and others, some slack. “I’m Too Funky” is, as the title suggests, very, very funky. The song highlights the band’s occasional similarities to Primus––bass-heavy and with scat-like vocals that certainly recall the great Les Claypool. Thank god, they never fall into insufferable Red Hot Chili Peppers posturing but keep on the right side of the manic funk-rock energy. As a result, the songs are quirky, crazy fun. Musicianship: Again, frontman Tamaren seems to have learned at the Claypool school of enjoyable bonkers-ness. There’s also a Mike Patton (of Faith No More, Mr. Bungle, etc.) vibe about the man and his band––a sense of glorious unpredictability that is very welcome in these restricted times. As one would expect with this sort of music, the band leans heavily on the bass and Kane is a phenomenal player, keeping the rhythm, but adding the

THUMPASAURUS sort of flourishes that the songs demand. The drummer, Was, rarely plays two beats when 10 will do nicely, and Cornish’s synth adds a wonderful sci-fi vibe. It all blends seamlessly into a carefully considered, beautiful mess. Performance: With the whole band decked out in white jumpsuits, plus that oddly prehistoric name, there’s a fun and quirky Devo-like nerdpunk feel to the band and the performance. No crowd, but this set never feels like a rehearsal. They give it their all, and succeed in reaching into our homes through our laptops. There’s not much in the way of between-song banter,

but they don’t really need it. Thumpasaurus are eminently watchable. Summary: There’s a song called “You Are So Pretty” that contains the cooed lyrics, “You are so pretty, you are so wonderful, you are so special, and I want you to be mine.” The song is so silly and sweet that it just hammers home the notion––these guys are just having the best time. The songs are somewhere between journal entries and stream of consciousness, and that results in a vibe that is incredibly authentic despite the surface-level insanity. There’s much more to come from this band. – Brett Callwood December 2020

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– DEREK DAY

Mesmerizing an Audience H

ere and Now. It is step one of any goal completed with greatness, yet often overlooked in its importance. The moment you wake up on the day of a performance, notice the skin on your hands. Eat your food slowly; taste the taste. Feel the wind on your face as well as the emotion it offers you. Promotional things, errands and all else should have been finished up the day prior. Now is your time to be fully aware of yourself and your surroundings. Captivate yourself first and foremost. In the event of cabin decompression on an airplane, help yourself LIVE first. Theme This goes hand in hand with step one because you find out what intrigues you and embody it, which can help your persona come off much more lucid to your audience. Your theme, or brand, is everything from the clothes you wear to the mantra you speak. With clothing, crazy patterns (i.e. Van Halen) or dark colors (i.e. The Cure) will punctuate the message of your music to a large number of people all at once. Everyone watching you will be in the same boat of WHO you are right off the bat, not working too hard to figure out what they are experiencing, thus putting them in the palm of your hand as to how you want to make them feel that night. Time and Preparation Obvious but worth reiterating. I don’t need to tell you to make sure your gear, sound and musicality are up to par with your vision, but I must mention that preparation also means a bit of stage performance rehearsal, which can feel bizarre. Apply the hand gestures, facial expressions, high kicks, jumps, and especially band member interaction during rehearsal of the music. Which word in the song will make you point to an audience member?

agility. It’s a window into the artist’s life and another thing you can’t do too much: make the audience hunger for your mysterious personality. Observe This concept works on two levels: A way to learn and grow from yourself and other performers, as well as a literal action to take in the moment of performing. We all know to watch live performances of all the “Greats” on the internet and try to figure out how they do what they do. But also learning from lesser known, local bands from different music scenes can show you how to be different; something new for local eyes. Being an audience member gives you a chance to observe the audience, as well, maybe listen in on the types of comments different people make. Nevertheless, none of those observations are nearly as important as observing yourself. Put yourself through the torture of watching footage of your own live performances. It’s the quickest way to know what you DON’T want to do. This practice really connects you to the famously known “gut feeling” that we often have a hard time searching for. This leads me to real-time observation during a performance. As unpopular as this concept may be: DON’T LOOK DOWN. At least not for more than six seconds at a time. Aren’t you tired of people on a stage being in their own little world, singing to themselves, about themselves? It’s not necessarily a bad thing to do for a small portion of the show, but you should sing/play OUT to the audience in order to be WITH them. One trick that can simply stun an audience member is eye contact. It is so personal but not too invasive in a situation like this. It almost makes the audience member wish it would happen again. So they wait… attentive as to not miss it.

“‘Be over-prepared so that you don’t underperform.’”

Be Specific Of course you’ll jump at the big drop at the climax of the song; but how will your body look when you do it and how will you land? Will you keep jumping? For how long? Make movements symmetrical with the energy, flow and length of each song. If you will take an instrumental lead, step forward, but not without knowing exactly when you must start heading back to your original position so that you don’t “step” on the performance in any way. Many confuse preparation as a killer of inspiration or spontaneity, but to the contrary it really creates the space for improvisation; if your canvas was without a frame, as vast as outer space, you may very well drift into oblivion. Have an outline, a sketch, an idea or even some tricks up your sleeve for the kind of show you want to put on. Former Pittsburgh Steelers quarterback, Charlie Batch, says it best: “Be over-prepared so that you don’t underperform.” Improvise Imagination, playtime and a state of awareness make for exponential growth as an artist and performer. This is the flip side to the prep-coin. Not only do you want your performance to be as blunder-less as possible, but you ought to make something like improvisation special, so really relish in it as it doesn’t occur often. Though the audience may not know exactly what it is that you’re “trying out” as improvisation, the vibe will translate in some manner as your presence is affected by the work you’re putting into it at that moment. Your reaction and aura will make everyone feel the “Now” and appreciate what they are looking at instead of thinking about tomorrow’s work day. Communicating to the audience is a big improvisational skill that takes a lot of trial, error, quickness and 62 December 2020

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Move Performers have rights. The right to gyrate. The right to make the world their stage. You may never play that stage again, so make sure you get the most of it. Three songs in, and people sort of crave a task to perform after standing still, gazing. So give them something to follow. Something to analyze. Throw them off, shake a foot, anything. Truth is, you can’t know the exact outcome of your performance or performance day for that matter. Just be excited that you’re doing something extremely exciting and it’ll BE exciting for anyone to witness. For 10 years, starting at the age of 13, I have played on the streets of Santa Monica every weekend, performing to 3 or 10 or 20 or even 40 people. If you make someone late to a movie or forget what they are shopping for, you’ve learned what “urgency” can do for you. Later, I’ve moved on to national and international tours, playing theaters with capacities ranging from 200 to 400 to 800 to 2,000. The most people I’ve played for so far was in Budapest, Hungary, caterwauling to 60,000 living souls for the Ozora Festival, 2019. At that point, you really don’t think about what you’re doing or what your next move is. You’re just ON.

DEREK DAY infuses the power of rock & roll and multiple other genres (R&B, soul, punk and pop) as he engages and captivates audiences with his natural theatricality. He’s on the lead, licky, riffy electric guitar to accompany his gritty, soulful contralto vocals. After a tour with Living Colour, a friendship formed between Day and Vernon Reid and they co-wrote the single “Click On Me.” Day has toured the U.K., Sweden and the U.S. and shared the stage with Steve Vai, Ted Nugent, Steel Panther, Slash, Lynch Mob and is in Classless Act with Slash’s son London Hudson. Learn more at derekdaymusic.com.

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– CHRIS NARDONE

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Artists& Venues: Navigating The Pandemic

Our Favorite Signing Stories of the Year