32 minute read
Exec Profile: Maureen Droney, Recording Academy P&E Wing . . . . . By Rob Putnam
from July 2021
Maureen Droney
Senior Managing Director of the Recording Academy’s Producers & Engineers Wing Years with Company: 15 Address: 3030 Olympic Blvd., Santa Monica, CA 90404 Phone: 310-392-3777 Web: producersandengineers.com Email: N/A
BACKGROUND
Droney began her career in music as a busker on the storied streets of San Francisco. It soon fell to her to record her bands, which led, ultimately, to work with Whitney Houston, Aretha Franklin and Santana. She also has a background in studio management, teaching and music journalism. Indeed, in 2018 she co-authored Al Schmitt on the Record: The Magic Behind the Music, a book about the late and legendary 20-time Grammy-winning recording engineer. Among her many duties with the Recording Academy is the formulation of audio recommendations––metadata, for example. on doors all over San Francisco before I got the job that I did. George said that now it’s two million to one because there are so few studios that have those entrylevel jobs, since everyone can engineer now, supposedly. Terry Winston who runs Women’s Audio Mission in San Francisco has helped girls and young women get into audio technology since 2003. She’s got a lot of support from the local tech companies because one of the things she does is bring women into audio engineering. These days there are a number of avenues: podcasts, soundtracks and other things. People have diversified a lot; there are all sorts of hybrids. There’s been a lot of change, but there are still a good number of opportunities. You’ve really got to want it, though. It’s a calling.
Joining the Academy
It was kind of a unique job description that fit me. It uses all of my skills plus a whole lot more. We do things like advocacy in Washington, D.C. and the Academy is strong on campaigning for the rights of music creators and has been since it first formed. We have a big annual event in D.C. called “GRAMMYs on the Hill,” which is sort of life-changing because you get to go to Congress people’s offices, talk with them and realize that they have to listen to you. We also have “District Advocate Day” where thousands of people around the country go to their representatives when Congress is out of session and lobby for the things for which we work.
A Typical Day
Yesterday I had a call with recording engineers George Massenburg and Jeff Balding. They’re among the original creators of one of our most well-known sets of white papers: Recommendation for Delivery of Recorded Music Projects. It started in 2004 when people began to realize that what was getting delivered to labels as a final product was inconsistent. The best example is the infamous “Holiday Inn hard drive,” which was an unlabeled hard drive in a cardboard box wrapped in a Holiday Inn towel with no notes. That’s the epitome of what was happening.
There was also a time when people tried to deliver thumb drives to labels. We have another paper on how to record high-resolution audio. This year Spotify will begin to accept CD and what they call “HD” quality music. We work together with the labels to make sure that the product gets delivered in the way artists intended.
Challenges in the Industry
One of the big problems we still face is recording metadata and getting that right. That’s coming into focus through something
Academy Chapters
The Academy has twelve chapters around the country and some are regional. We have quarterly meetings with the chairs, which are great because we’re in touch with the grassroots people who make music; the people who actually do the work in the studio and make the records. We did a series of panels for a while called “Songs That “Just because parts of the industry are thriving now, it doesn’t always Changed My Life” and for one of them [famed engineer] Bob Clearmountain brought in “Delta Lady” by Leon Russell. trickle down to the creators.” That was the song that made him want to be in the studio where people were making recordings. we lobbied for: The Music Modernization Act. The Future of Audio
There was also the formation of the MLC Remote recording won’t go away. In fact, [Mechanical Licensing Collective] so that it will get better. I spoke with a company songwriters and publishers have all of their recently that’s got a product coming out information included and [information about] that will address latency in a real way. It will who needs to get paid. To make that work, allow musicians to do higher-quality online people have to ensure that their metadata recordings. Again, Spotify has plans to go with is correct at the start. There’s still a big gap CD-quality music soon and that will change in getting that information collected properly the way people listen. Things will get better and disseminated. There are several entities in terms of hearing music in the way artists working on that and we’re getting there. intended it to be heard. Immersive audio will also be important. Certainly the labels are
Challenges in Her Position putting money into immersive mixing. That’s
What my colleagues and I do is protect and one of the things our committees do: keep nurture artists. Advocacy and MusiCares are things working well for the creators and the pillars of our work and on my side it’s education studio people as well as for the inventors of about the best practices in the recording arts. the technologies. We try to keep it in line so
Those are all challenging because in the digital that technologies don’t become competing age music and music creators were devalued. formats that kill off each other or put a burden
Just because parts of the industry are thriving on creators because they didn’t sort out how now, it doesn’t always trickle down to the users would work with it. creators properly for all sorts of reasons. People had become dependent on touring and their Projects on Her Horizon incomes have fallen in the digital world. We The biggest thing is the revamp of the delivery need to figure out solutions to have more equity recommendations. Iron Mountain Entertainment for the creators. That’s one of the ultimate Services is a partner of ours and they have the challenges that we face. Prince and Bob Dylan libraries. They plan to archive Dylan’s material in Tulsa, Oklahoma.
Challenges for Emerging Audio Bob was amenable to that because Woody
Professionals Guthrie’s archives are also housed there and
In one of our videos, George Augspurger, who [Dylan] has a strong affinity for him. That kind was a Technical Grammy recipient in 2020, of work will be a focus for us this year. We’re was so optimistic. He said that if you like to also represented on the National Recording know how things work and you love music, you Preservation Board and we both got a lot of can have an awful lot of fun with audio. It’s true press this year, notably because of inductions that those typical studio jobs aren’t as plentiful of Jackson Browne and Janet Jackson records. as they used to be. Somebody said to me once There was a lot of other uplifting stuff inducted that it was always a million-to-one shot to get this year and not just music: spoken word, a job at a recording studio. In fact, I knocked baseball games and so forth.
OPPS
Apple Music wants an Assis-
tant, A&R. As an A&R assistant at Apple Music Group, you will build and refine your A&R skillset while assisting and training under two A&R executives in Los Angeles. In this role, you will develop the fundamentals of A&R as well as learn intimate knowledge of how an A&R department at a major record company functions. You will have an opportunity to develop a meaningful voice in the creative process, including what artists the label pursues as well as what songwriters and producers the artists work with. Apply at Careers at Apple.
Amazon is looking for a Music Business Affairs Executive.
Ideal applicant is extremely organized, flexible, and has a positive attitude. Applicant must have a passion for music and the industry. Pending applicants performance, Amazon hopes to eventually evolve this role into a day to day position strictly on the artist side. Apply at LinkedIn.
MIXhalo needs a Head of Event
Marketing. The role will focus not only on educating fans about Mixhalo, but getting them to show up to events with the app (either Mixhalo or a host app featuring the Mixhalo SDK) already downloaded and headphones in their pocket. Additionally, the Head of Event Marketing will take on an industry relations role, working to educate artists, managers, and tour and production personnel about Mixhalo and how it can unlock never-before-possible experiences for their fans. Apply at salary.com.
Soundcloud wants a Senior Man-
ager, A&R. Working directly with top-tier talent, managers, agents, lawyers, labels and producers to develop SoundCloud’s creator services relationships within the industry with a strong background in A&R, product management, deal flow and business development. The ideal candidate will be a clear, confident communicator with deep music industry knowledge and experience in deal negotiations, distribution deals, publishing deals, DSP marketing and artist development. Apply at geebo.com.
For More Career Opportunities, check out musicconnection.com daily. And sign up for MC’s Weekly Bulletin newsletter.
LABELS•RELEASES SIGNINGS
Death-sludge duo Melancholia has signed to Brutal Panda Re-
cords. The group formed in 2018 and has so far released three EPs. The first for their new label is Static Church, which they describe as “a meditation into the void of sonic darkness and esoteric philosophy …an immense journey through life, death, and what lies beyond.” Contact freeman@freemanpromo tions.com for more info.
Katlyn Nichol has signed to Cmnty Culture Recrds and
Republic Records. The Black-ish and American Soul star is also a singer and songwriter, and her debut single for her new team is “Liar.” North Carolina-born and L.A.-based, Nichol has been singing since she was two years old. She would sing backing vocals on her dad’s recordings, and actually Jax Anderson Goes Solo
Detroit indie artist Jax Anderson, formerly of Flint Eastwood, has released two songs about feeling cloudy: “Can’t Get Me High” feat. PVRIS and “She Don’t Love Me” feat. Lauren Sanderson. These follow the songs she released last month, about feeling hopeful.
worked with Mary J. Blige at a very early age. Blige signed her to Matriarch/Def Jam when she was just 12. After making her name as an actress, her music career is on the rise again. Contact marisa. bianco@umusic.com for more info.
African singer and songwriter Tyla has signed to Epic Records.
The artist came to the label’s attention when she pulled in over two million views as an independent artist. Her debut single for Epic is “Getting Late” featuring Kooldrink. “This really is a dream come true,” said Tyla in a press release. “I had no plan B, so this is something I invested my everything into and I could not be more satisfied to be welcomed into the Epic family like this, it’s such an honor, I’m so grateful for everyone who believes in me… Sylvia and Epic share our vision, we want to make great art and bring the world’s attention back home to Africa. I cannot wait to share what we have with the world.” Contact melissa.victor@ epicrecords.com for more info.
PROPS
The Vogue Multicultural Museum is opening its first exhibit, the Pink Floyd Exhibition: Their
Mortal Remains. The exhibition will highlight Pink Floyd’s music and the impact the band had on art and culture. “I feel very proud to have the opportunity to introduce a new era of cultural exhibitions for the city of Los Angeles, especially with the timeless and legendary
DIYSpotlight KARA CONNOLLY
Singer and songwriter Kara Connolly has been writing songs since she was a little kid. She doesn’t necessarily remember doing it, but an old friend recently presented her with some of the lyrics she wrote in second grade.
“She’ll be like, do you remember this song? And she’ll text me some lyrics,” says Connolly. “I instantly can remember the melody. In my head, I’m thinking it’s by some sort of one hit wonder, or a jingle for a commercial, and she’s like, ‘You wrote it. Don’t you remember?’ I don’t have a recollection of writing it but I remember the song. I can sing the song. So I guess I’ve been writing since second grade.”
Classroom boredom in high school encouraged her to keep writing, and she kept it going while attending USC for acting. When she wasn’t going from one audition to another in L.A., she was making music.
“People started to pay attention to it,” she says. “Doors started to open in that area pretty organically and naturally. So I started to walk down that path. I still act, I still consider myself an actor, because I do have that background, but I’m doing so much music lately from writing for other artists to writing for myself. I’m doing vocal producing. It’s become such a big part of my life. I guess it really did stem from that moment of being a kid writing those little songs.”
Connolly says that she’s inspired by many different styles of music, but eventually nails down her sound as “alternative pop.”
“It’s ‘90s-flared alternative pop,” she says. “That’s the easiest way I’ve found to describe it. I feel like it’s a lot of personal narrative with lots of guitars. Guitar based, with some modern sounds. Retro, organic instruments with a bit of a modern sound, all from personal experience. I almost feel like genres are defunct these days.”
The artist says that most indie musicians are DIY these days.
“I know that I am in the sense that I’m wearing every single hat,” she says. “I’m marketing, I’m branding, I’m styling myself, I’m coming up with the photoshoot and music video ideas. I have help in certain areas, but I’m oftentimes doing my own press. I’m basically wearing whatever hat I need to in the moment to get it done.”
Visit karaconnolly.com for more.
BETSY NEWMAN
Pink Floyd, a band so inspirational to myself and millions of fans all around the world for generations,” said L.A. event promoter Diego Gonzalez. “This exhibition will be a really exciting opportunity for people to come together to experience music, culture, design and innovation, all principles that Pink Floyd represent in their music.” Contact aloynes@solters.com.
The Apollo inducts Mary J. Blige into its historic Walk of Fame.
Nine-time Grammy winner and two-time Oscar nominee Mary J. Blige’s May induction ceremony included remarks from Ms. Blige, Apollo Theater Executive Producer Kamilah Forbes, and Apollo Theater Board Chair Charles Phillips and Billy “Mr. Apollo” Mitchell. After that, a permanent plaque was unveiled. Contact press@apol lotheater.org for more info.
The Who have been honored with a commemorative U.K. coin.
The U.K. Royal Mint and Bravado announced in May that the British rockers would be appearing on a beautifully printed and packaged silver coin. “It’s an honor to have a coin produced to celebrate The Who’s musical legacy,” said Roger Daltrey in a statement. “The coin’s design captures the true essence of the band and what we represent.” “I am delighted that the band’s work is being recognized by this fantastic range of coins from The Royal Mint,” added Pete Townshend. Contact communica tions2@umusic.com for more info.
Death Row Records has launched a virtual gallery to celebrate the label’s 30th an-
niversary. Created by Flux88 Studios in partnership with TillaVision, the retrospective is open to the public now. Albums by the likes of 2Pac, Snoop Dogg, Dr. Dre and more are available, and new features will be added the 30th of every month. Visit the free gallery at deathrowexperience.com
BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com Michael Mayo Spreads the Love
L.A.-born, New York-based Michael Mayo has released his debut album Bones via Artistry Music/Mack Avenue Records. “In many ways, this album is a letter to myself,” Mayo said in a press release. “I was in the closet for years, lying about who I truly was and felt. This album affirms you can live authentically, and not be afraid to express it.”
The LEGAL Beat
BY GLENN LITWAK
The Sound Engineer Contract
This article will discuss a contract between a recording artist and a sound engineer for the recording or mixing of masters.
Many unsigned artists will at some point want to hire a sound engineer. Before you consider entering into a contract with a sound engineer, you should research the experience and reputation of the engineer. Does the engineer have recent experience in your music genre? Who else has the engineer worked with? Also, does the engineer appear to be someone who will be easy to communicate and work with? If all that checks out, you can consider entering into a simple written contract.
The contract should include the following provisions: 1. All parties should be clearly identified with their addresses and contact information. 2. The agreement should be a “Work for Hire” Agreement. This means the artist will own the work product of the engineer to utilize as 7. Assignment: The engineer should assign all rights (including copyright) to the artist. Any credit for the engineer can be at the discretion of the artist. 8. Boilerplate provisions: These are contractual provisions typical in many contracts. For instance, the state law that will apply, whether there will be binding arbitration of disputes, and that any revisions
he or she pleases. 3. I would suggest a provision that states the engineer will use a full-service professional recording studio using modern equipment and procedures. 4. You must identify the master recordings the sound engineer will be working on. 5. Compensation: Usually this will be a flat fee as full and final payment. You should specify when the engineer will be paid. 6. You should specify when the work will be done and what studio will be used. to the agreement must be in writing and signed by the parties. I like to include the following provisions in many of my contracts:
Final Agreement: This Agreement constitutes the final understanding and agreement between the parties with respect to the subject matter hereof and supersedes all prior negotiations, understandings and agreements between the parties, whether written or oral. This Agreement may be amended, supplemented or changed only by an agreement in writing signed by both of the parties.” Email Signature, Etc.: This Agreement may be executed in multiple counterparts and delivered via facsimile or email transmission, each of which shall constitute an original and all of which together shall constitute one instrument.” 9. Consider if you want to provide that the prevailing party in any litigation or binding arbitration will be entitled to reasonable attorney’s fees and costs. 10. The Agreement must have signature lines and dates for the parties.
There are many benefits to having a signed written agreement with your engineer. It can be valuable proof in the event of a dispute. Also, it can prevent honest misunderstandings.
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.
GOLDPARK
Date Signed: April 21, 2020 Label: Hazel Street Records Type of Music: Indie Rock Band Members: Wes Hunter, Andrew Smith, Kyle Neblett Management: Brad Parker - TBD Management Booking: N/A Legal: Matt Cottingham - Ritholz Levy Fields LLP Publicity: Ashley White - Ashley White PR Web: goldparkband.com A&R: Bruce Kalmick - Hazel Street Records
When Wes Hunter started writing “Morning Light” from his apartment in Madison, TN, he had no idea that his indie-rock song was going to help lay the foundation for what would become the inaugural single for an upstart indie label, one year later. But unpredictability has become the underlining norm for the lead singer of Goldpark and his bandmates.
Upon moving to Nashville in 2019, Hunter met guitar player Andrew Smith and percussionist Kyle Neblett. The newly formed trio made a demo so impressive it attracted the attention of Bruce Kalmick and Laura Bender from Hazel Street Records. The two signed Goldpark to a record deal in April of 2020, despite the fact that no one had ever seen all three members play a live show together.
“The move to sign with Hazel Street was almost a no brainer. From day one their mission was to launch a rock & roll band and we couldn’t say no,” says Hunter. “Getting to have a personal relationship with Bruce (CEO) and Laura (General Manager) from the start definitely helped form our confidence that this was going to be a partnership. The initial plan was to make a record and tour for the foreseeable future until we felt we were ready to
go to radio. Once the pandemic hit, though, we really had to regroup and figure out how to build a band without the road. I couldn’t be more grateful to Hazel Street for committing to us in such an uncertain time."
In lieu of a traditional developmental phase and a nation-wide tour, Hazel Street Records decided to release a slew of fresh content from their new band. Although Covid-19 temporarily derailed the indie label’s plans for a rollout, it didn’t stop them from enhancing Goldpark’s searchability online with a strong social media push and three music videos.
Goldpark’s most recent release is an alternative rock song called, “Desperation.” The band’s third single release with Hazel Street will be a track titled, “Running.” – Miguel Costa
TEX CRICK
Date Signed: Sept. 10, 2020 Label: Mac’s Record Label Type of Music: Singer-songwriter Management: N/A Legal: N/A Publicity: jim.pitchperfectpr@gmail.com Web: texcrick.net A&R: N/A
Australian singer, songwriter and multi-instrumentalist Tex Crick was visiting Japan with his girlfriend when the lockdown went into effect, so he’s pretty much been living there for the past year. It’s funny the way things work out, and Japan is a long way from the coastal town of Coledale in New South Wales, Australia. That’s where it all began for Crick, who started playing classical piano on a Suzuki as a child.
“I ended up quitting because I thought it wasn’t very cool,” Crick says. “I started playing guitar, then eventually it came back around. I thought it was cool again. I kept that up and in high school, I figured out how to use GarageBand. I started recording anything on that, making any kind of music. I loved making as many recordings as I could after school. I was going to a lot of shows in the city and meeting a lot of people there.”
That’s how he met and started playing with Kirin J. Callinan, the “enfant terrible” of the underground Australian rock scene.
“He was looking for a band for his Embracism album,” Crick says. “I think he just liked what I was wearing at the time. He asked if I played any instruments and I said I played bass and keys, but I wasn’t very good. It was too late for him to find any other band members so I joined the band and I grew into it. I wasn’t ready for it, but I learned the songs and it had to happen. I kept practicing and got better, learning about music on the road. I’m not really professional––I just fell into it and it just feels like a hobby for me.”
Crick’s sound incorporates elements of jazz and soft rock, led by his deft piano work. He says that the Japanese word “natsukashii,” meaning “nostalgic,” describes his style nicely. It can be heard on his debut album Live in… New York City, released on Canadian artist Mac DeMarco’s label, which is imaginatively called Mac’s Record Label.
“I met Mac years ago on tour, and we just kept in touch,” Crick says. “When I had an early mix of the record, I just sent it out to a few people and he offered to mix it right away. That sounded like a pretty good offer to me, so I went with that. Then we just mixed it for ages, running it through gear and stuff. Then he just asked if he could put it out on his label.”
The album is great––understated, sweet and emotive. It was recorded with basic gear, off the cuff, in New York and it benefits from the simplistic approach. Looking ahead in 2021, there’s more to come.
“I’m just trying to write music,” he says. “There are pretty crazy lockdowns here in Japan at the moment. I can’t really play shows or go anywhere. But I just set up a little studio in the attic and it’s nice and cozy.” – Brett Callwood
SEBASTIAN JAVIER
Date Signed: October 2019 Label: Elektra Records Type of Music: Latin Pop Management: Kristopher Christie Legal: Avi Dahan - Boyarski Fritz, LLP Publicity: Collin Citron - collincitron@elektra.com Web: sebastianjavier.com A&R: Caterina Nasr
By the time Sebastian Javier moved with his mom from Argentina to Toronto, Canada, he was already in love with music. At the age of 10, he was taking vocal lessons and doing a bit of theater.
“When I moved to Canada at 12 is when things slowly started to kick off on Youtube, filming covers, and I started to do shows at 15,” he says. “It’s been a gradual progression. I’ve gotten more into music and now, I’m really deep into the songwriting aspect and everything else. It’s been very progressive but it’s been fun.”
Today, he describes his sound as a glorious fusion of pop, R&B and Latin music. Living in two countries has obviously aided that blend.
“When I was 12, my mom and I just moved here all on our own,” Javier says. “Obviously there are a few different reasons. My mom was looking to study and grow her opportunities. I really wanted to try to take music seriously. Even when I was 12, being young, I believed that being in Canada could be a really great place for me to grow. I had some family that had moved here in the year 2000, so we came to visit two years before we moved and we really fell in love with Canada and it felt like we wanted some change. That was definitely a good time to make it happen.”
Things really took off recently when Javier received an Instagram DM from L.A. industry insider Gina Rodriguez.
“She DM’d me on Instagram when I was in L.A. with my manager maybe two years ago,” Javier says. “She had asked if I was signed and if I wanted to meet the head of Atlantic Records. I didn’t really believe it whatsoever, but we took the email and then got on the call, and Craig Kallman answered––the CEO of Atlantic. He told us that Elektra felt like a special place for me and it felt like a better fit. From there, we got to meet the team at Elektra, including Caterina who is my A&R now. Everything from there became possible. An Instagram DM started it.”
Javier’s debut release for Elektra is the single “Bad for Me,” which he says reflects on the bad decisions that we as humans often can’t seem to help gravitating toward.
“The song represents any habits or anything that we do in our daily life,” he says. “Even habits like going on social media too much or friendships with people you’re connected to that might actually be bad for you. We kinda gravitate towards those people and those habits. That’s where the question came to be––why do we do things that are bad for us. ‘Bad for Me’ is for me and hopefully for the listeners a wake up call. If people think about what in their life is actually bad for them, any friendships that you think you should cut off or any habits they should change. Make your life better.” – Brett Callwood
REXX LIFE RAJ
Date Signed: March 2020 Label: Empire Records Type of Music: Rap / R&B Management: Ari Simon - ari@empi.re Booking: Victoria Gutierrez - vgutierrez@icmpartners.com Legal: Joey Seiler - Loeb & Loeb, jseiler@loeb.com Publicity: Mikaela Duhs - Shore Fire Media, mduhs@shorefire.com Web: rexliferaj.com A&R: Nima Etminiam - Empire Records
On the heels of his fifth EP, California Poppy 2, following four fulllength albums and four tours in 2018 and 2019 respectively, Rexx Life Raj is primed for even more momentum in the coming year. His latest signing with Empire Records covers a royalty percentage––leaving Raj the majority of streaming sales income—and is a 30-song commitment with an open timeline: the perfect example of Raj’s belief in artful negotiation.
Raj began writing poetry in elementary school, recorded his own music with beats on a Casio keyboard, and was making and selling CDs by middle school. Playing offensive tackle for Boise State in 2010, he kept a music studio set up in his room to record, explaining, “music was always the priority; football was a detour.” Returning home in 2013, he worked in his parents’ shipping business while his writing started to take form.
By 2014, a friend managing Raj’s music shared it with Ari Simon, a radio show host at the time. Seeing potential, Simon became his manager and released Raj’s first two EPs. The Father Figure distribution deal followed when Simon began interning at Empire Records.
Raj says he learned a lot from online interviews with icons like Nipsey Hussle and Chance the Rapper. “Learn to negotiate and learn from whoever you can,” says Raj. “The first offer is only the first offer.”
His track, “Moxie Java,” did very well and led to bigger performances, and streaming sales of follow-up single, “Handheld GPS” surpassed all expectations, leading to Father Figure 2: Flourish in 2017 and Father Figure 3: Somewhere Out There in 2019.
“Every once in a while you find talent and ethics united in one person, and that’s what I appreciate about Raj,” shares CEO and VP of Operations of Empire Records, Nima Etminiam. “His music makes you think and makes you laugh at the same time. He’ll throw you a deep line about mental health and societal pressures, followed by him telling you he’ll smack the shit outta you if you act goofy.” – Andrea Beenham
Concord Has Everything
Concord Music Publishing has signed British art-rock/experimental-pop group Everything Everything to a multi-year worldwide publishing deal covering all future music. The band is set to tour in Spring 2022.
Justin Tranter on the Range
Range Media Partners has signed producer-songwriter Justin Tranter to a pub deal. With millions of sales and online streams, Grammy and Golden Globe nominations, and 15 BMI Pop Awards (two for “Songwriter of the Year”), Tranter now has film, TV and theater projects in development.
Funny Faye
Genre-bending folk-pop artist Faye Webster’s latest album I Know I’m Funny ha ha—including track, “Better Distractions” (on Barack Obama’s 2020 favorites playlist)—is out now via Secretly Canadian, following her 2017 selftitled and 2019 Atlanta Millionaires Club albums. A tour is set for the Fall.
CCS Signs With Blue Ant
Publishing and rights administration company, CCS Rights Management (CCS), has signed an exclusive worldwide publishing agreement to represent music from global content producer, distributor and operator, Blue Ant Media (whose networks include Love Nature, Look Mom, Saloon Media, Cottage Life, Makeful and Animalogic). This latest CCS partnership follows a catalog rights management deal with Spin Master (owner of the PAW Patrol franchise) earlier this year. See ccsrightsmanagement.com/news.
Westcoast Songwriters Conference
Mark your calendar for the WCS 41st anniversary, celebrating the longest-running conference of its kind in the world as an organization that hosts over 15 volunteer-run events each month. The 2021 Conference takes place September 10 and 11, and attendees can network with fellow musicians and industry leaders and participate in seminars, workshops and intimate mentoring sessions.
Sessions cover songwriting and legal information, industry standards, vocal coaching, sound quality, stage presence, lyricism and more, and participants will have an opportunity to present to industry professionals and perform at showcases. Full details at westcoastsongwriters.org/ conference.
Hipgnosis Gets Little
The complete catalog of Grammywinning songwriter, musician and producer Joel Little has been acquired by Hipgnosis Songs Fund Limited. With multiple awards for his projects with Taylor Swift (“Me!”), Khalid (“Young Dumb & Broke”), Imagine Dragons (“Whatever It Takes”), Little is best known for his work with Lorde, producing and co-writing her debut EP (The Love Club)––with hit single “Royals”––and first album (Pure Heroine), and co-writing her second album (Melodrama). Little’s music streaming count sits at over 15 billion. He also co-wrote or produced four songs for The Hunger Games: Mockingjay, Part 1, including lead single “Yellow Flicker Beat.”
BMI Gospel Award Winners
BMI congratulates all the winning gospel creators from the 2021 BMI Trailblazers of Gospel Music Awards, with Gospel Song of the Year going to Donald Lawrence and Sir the Baptist (his first) for “Deliver Me (This Is My Exodus),” spending 99 weeks on the Billboard Gospel Charts, Songwriter of the Year to Kanye West for “Hands On,” and Kobalt Music named Publisher of the Year, with 20 of this year’s top gospel songs on their roster.
This year’s awards included performances by The Clark Sisters with J. Drew Sheard II, Todd Dulaney and Koryn Hawthorne, 59 first-time Pop Award winners, with first-time winners including Renee Spearman, J. Drew Sheard II and Zacardi Cortez. Details at bmi.com/award-shows/ trailblazers-2021.
The Virtual ASCAP Experience
Rolling out as a fully virtual format this year, the annual ASCAP Experience kicked off with Grammy-
Warner Signs Solis
Warner Chappell Music has signed influential Mexican singer-songwriter Marco Antonio Solis to an exclusive three-year deal covering the majority of his 300 song, 30 album catalog, and rights to future works. Solis holds five Latin Grammys, 18 Lo Nuestros, a Billboard Lifetime Achievement Award, and more.
winning Producer Greg Kurstin in May. Free, bi-weekly virtual sessions covering artistic skill development, songwriting, the inner workings of the music business, how to get your music heard, and the next steps for your music career continue through 2021. More at ascapexperience.com.
Durrett Gets Loud
Big Loud Publishing and Warner Chappell Music have joined forces to sign a co-publishing deal with musician-singer-songwriter Jacob Durrett. Having made a big impression on Nashville since signing his first pub deal in 2015 as a student at Belmont University, Durrett has already penned music for Zayn, Diplo, Bren Joy, Nelly, Tyler Rich, Ernest, Mackenzie Porter and Devin Dawson. He was co-writer on “Big, Big Plans” (Chris Lane) and co-wrote and produced Morgan Wallen’s Dangerous: The Double Album.
AIMP LA Liker Scholarship Award
The second annual Linda Komorsky Liker AIMP Scholarship has been awarded to Cal Poly Pomona Senior, Justine Hawelu. Pursuing a Bachelor of Science in Music (with an emphasis in Music Industry Studies) and minoring in Marketing Management at Cal Poly, Hawelu will be awarded $5,000 to help continue her education. Interning as a Floor Director at The Den, she was also named the 2021 NAMM President’s Innovation Award winner, and was a panelist at NextGen (NAMM) and Vibe Movement.
Award namesake, Linda Komorsky Liker was a respected music publishing executive known for handling the administration of Steve Miller’s music catalog, founding International Music Services and serving as its President for five years. Continuing her career with posts at EG Music, BMG Music Publishing, and Dimensional Music Publishing, and working with artists including Sting, Graham Nash, Jennifer Warnes, Michael McDonald and others, she served as the President of AIMP and the Secretary of the California Copyright Conference.
MIME Pens Owens and Levingston
Made in Memphis Entertainment (MIME) Publishing has signed an international co-publishing deal with producer Stacey “SOS” Owens and producer-songwriter Nathaniel Levingston for representation of both catalogs.
Owens has produced music on projects for Trey Songz, Ne-Yo, Shawty Lo and others, and has worked with BET, CW Network and Nestle, while Levingston his written and produced music for over 10 years with credits including work with Nas, CeeLo Green, DJ Khaled and Lil Wayne.
ANDREA BEENHAM (aka Drea Jo)
is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadian-raised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com
Kezia Shares Claire
Tanzanian-American Bay Area-based R&B pop artist Kezia releases their debut EP Claire that touches on being a biracial woman and navigating mental health, love and spirituality. London’s Ghetto Songs
For the 500th anniversary of the Jewish Ghetto of Venice in 1516, trumpetercomposer Frank London releases “Ghetto Songs,” performing 500-year-old songs in multiple languages, genres and styles, and including collaborations with Grammy-winner Karim Sulayman and Yaakov Lemmer.
Nancy Wilson Symphony
Following her first solo EP release, You and Me, Heart co-founder Nancy Wilson is set to perform via livestream this month with the Seattle Symphony, along with an Amazon biopic in the works and rumored upcoming tour date announcement.
