Music Connection April 2015

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CONTENTS 36

Informing Music People Since 1977 !PRIL s 6OL s .O

All Time Low In MC’s exclusive interview with Alex Gaskarth, the frontman shows what it takes for a band to make progress and have a lengthy career in today’s music industry.

46 Industry Profile

By Siri Svay

MC looks into how Your Music Company’s crowdsourcing/label hybrid actually works.

Photos: Jon Weiner

By Victoria Patneaude

40

Guitar Jam 2015 Music Connection’s roundtable-style interviews with legend Robin Trower, Jeff Beck bassist Rhonda Smith, blues-rock firecracker Ana Popovic and jazz-fusion powerhouse Dewa Budjana allow each musician to reveal something special about their art and craft.

By Eric A. Harabadian

Departments 08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 26. Signing Stories 28. Song Biz 32. FilmsTVsTheater 34. Mixed Notes

Reviews

Directory of Guitar/Bass Services & Instructors

47. Album Reviews 48. New Music Critiques 50. Live Reviews

Compiled By Denise Coso

54 20. Producer Crosstalk: Tee-Double . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Tony Valenziano, Smile Records . . . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: John Moreland . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 44. Expert Advice: Playing Special Events . . . . . . . . . . . . By Paul “Chico� Fernandez 62. Tip Jar: Your Personal Relationships . . . . . . . . . . . . . . . . . . . . . . . . . By Mixerman

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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.

The Fishman of Acoustic Preamps Our new Platinum Pro EQ and Platinum Stage universal preamps are designed for players looking for a pro-quality preamp/DI for their acoustic guitar, violin, cello, bass, resonator guitar, banjo, mandolin or other acoustic instruments that may be too small or too precious to have an onboard preamp.

Class-A analog circuitry makes it a preamp… Great sound makes it a Fishman.

Platinum Series Preamps from Fishman – For over 30 years, the world’s #1 maker of acoustic instrument pickups & preamps.

Inspired Performance TechnologyTM

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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 ADVERTISING/MARKETING hillorier@musicconnection.com

Ray Holt DIRECTOR OF DIGITAL MARKETING rayh@musicconnection.com

Mark Nardone ASSOCIATE PUBLISHER / SENIOR EDITOR

markn@musicconnection.com

John Curry ART DIRECTOR artdirector@musicconnection.com

Siri Svay ASSOCIATE EDITOR / SOCIAL MEDIA MANAGER siri@musicconnection.com

Barry Rudolph NEW TOYS

barry@barryrudolph.com

Bernard Baur CONTRIBUTING EDITOR bbatmc@aol.com

Dan Kimpel SONG BIZ

dan@dankimpel.com

Jessica Pace &),- s 46 s 4(%!4%2 j.marie.pace@gmail.com

FEATURE WRITERS

Andy Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com Editorial Interns

Austin Wood intern@musicconnection.com Shannen Roberts intern@musicconnection.com CONTRIBUTING WRITERS Carl Anthony, Allegra Azzopardi, Bernard Baur, Danica Bellini, Brett Bush, Jeannie Deva, Gary Graff, Eric A. Harabadian, Ted Jamison, Andy Kaufmann, Kurt Orzeck, Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, Daniel Siwek, Vincent Stevens, Laurier Tiernan, Brooke Trout, Albert Vega, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin Estrada, Apple Kaufmann, David Klein, Tony Landa, Dave Long, Thomas Long, Kurt Orzeck, Jessica Pace, Victoria Patneaude, Scott Perham, Rob Putnam, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Vincent Stevens, Brian Stewart, E. H. Tiernan, Paula Tripodi, Brooke Trout, Albert Vega, 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 Š 2015 by E. Eric Bettelli. All rights reserved.

Founded by: J. Michael Dolan / michael@jmichaeldolan.com

CORPORATE HEADQUARTERS 3441 Ocean View Blvd., Glendale, CA 91208 Office: 818-995-0101 Fax: 818-638-8015 Email Address: contactmc@musicconnection.com Website: musicconnection.com Legal Counsel: Christopher J. Olsen / chris@chrisolsenlaw.com

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– JONATHAN WIDRAN

CHARLES LAURENCE PRODUCTIONS clpstudios.com

One-Stop Shop Recording and Restoration Facility: Perfectly combining his major/minor of Chemical Engineering/Electronics and Music at Cal State Northridge, Charles Laurence had a brief flirtation with the aerospace industry before launching Charles Laurence Productions, a one-stop state-of-the-art recording, audio/video and production facility. His studio not only provides state-of-the-art recording production, audio/video and artist management, but also restoration and re-mastering services. While his main studio room is dedicated to new recordings, he also devotes ample space to vintage analog tape restoration, baking and transfer and legacy data acquisition and digital transfer via such technologies as Syquest and Jaz and Mac to PC Audio transfers from programs like Cubase.

Laurence also does 24 and 32 track music production (analog and digital), with synths, percussion and grand piano on site, and has an audio production studio with thousands of sound effects. Over the years, he’s also re-mastered hundreds of classic pop and jazz recordings (Billie Holiday, Dizzy Gillespie, Ike & Tina Turner).

Video Restoration and Production Services: In 2010, Laurence brought a diverse video component to his production and restoration business, offering such services as 8 mm, 16mm 3/4 inch, Beta and VHS film transfers to DVD; ½ video, mono ¾ Umatic transfers; video editing, DVD Duplication and the creation of training videos. One of the key technologies he uses is the Final Cut Pro Editing with a Motion plug in. He also does video restoration, transfers, time base and color correction, which helps stabilize the picture and restore old videos for digital presentation on DVD. “The most dynamic part of transferring old to new technologies is using the best of what we had in the ‘80s and ‘90s, including pro VHS players and hi fi with newer technologies like the time base corrector,” says Laurence.

Innovations: Over the years, Laurence’s three-room facility has not only stayed on the cutting edge of technology, but transcended it through in-house innovations. Designing his own equipment for fidelity optimization, he has developed pre-amps, buffer amps and dual servo pre-amps, among many other new technologies.

Contact Charles Laurence Productions, 818-368-4962 8

April 2015

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Chris Allen

Courtney Lowery

PMC has appointed Chris Allen as Export Sales Manager for PMC’s Pro Audio product range. Allen’s new role sees him responsible for international sales, managing a global distribution network, liaising directly with clients and maintaining PMC’s status as a leader in speaker technology and reference monitoring for the creative pro audio industry. After studying audio and recording technology at De Montfort University, Leicester, and Confetti Studios, Nottingham, Allen joined pro audio manufacturer Prism Sound.

For the next seven years he provided sales and technical support for Prism Sound’s range of audio converters and analogue processors. For additional information, contact sue@whitenoisepr.co.uk.

Epic Records has promoted music publicist Courtney Lowery to Vice President of Publicity. In his new role, Lowery will oversee all aspects of publicity activities for selected artists and projects on Epic Records. He will specialize in the design, strategy and implementation of global media campaigns, saturation of digital, print, TV, social media and new technology to broaden the scope and impact of those campaigns, and the creation of unique, once-in-alifetime, special events. Lowery has more than a decade of experience at Sony Music and Epic Records. He has served as Senior Director of Publicity, Epic Records, since the arrival of L.A. Reid as Chairman and CEO in 2011. For more info, contact micah.schure@epicrecords.com.

Naim McNair

Dustin Hinz

Republic Records has promoted Naim McNair as Senior Vice President of A&R. Based in the company’s Los Angeles office since 2012, McNair has signed artists such as Kalin & Myles and Zernell Fontaine by way of Sarah Stennant’s Turnfirst Records, launching and guiding their respective campaigns. With over 20 years of experience, he also contributed to projects including Ariana Grande, Sage the Gemini and many others. He will continue to build and develop Republic’s roster and elevate artists to new heights. McNair has served as Vice President of A&R at Republic Records since 2012. Prior, he worked as an A&R consultant orchestrating the signing of Future to Epic Records Records. Contact Joseph.carozza@umusic.com.

Ernie Ball Inc. has appointed Dustin Hinz to Executive Vice President of Marketing.

Hinz will lead marketing and brand strategies for the Ernie Ball and Music Man brands. In his role, Hinz will develop and direct innovative marketing strategies to further the Ernie Ball brand experience.

He will focus on content creation and entertainment programs designed to spotlight the Ernie Ball culture, fan-base, product assortment and retail partnerships. Hinz most recently held the position of Vice President Brand Experience, Marketing and Media Production. He has driven a number of campaigns in brand and entertainment marketing, creative and artist empowerment programs. For more information, contact ed@anthemicagency.com.

Timothy Thompson

Shivaun O’Brien

ARGOSY Console has promoted Timothy Thompson to company President. Thompson will focus on overseeing day-to-day operations and will be responsible for implementing the company’s strong position for growth within the music, film and related industries. He will also focus upon developing key alliances and product partners in other growing market segments, such as aerospace, education, finance, government, law enforcement and transportation. Thompson is a 20-year veteran of business development in manufacturing and relationship building in the music, film, television, and technology industries. For more information on this appointment, contact Margaret@msmediainc.com.

Vintage King Audio has hired Shivaun O’Brien in the newly created role of Traffic Manager. As former Studio Manager of Sound City Studios, O’Brien brings over three decades of in-studio knowledge to Vintage King Los Angeles, where she will work towards creating an ever-expanding pro audio experience. O’Brien spent nearly 20 years at Sound City and was involved in booking the studio, making sure the sessions ran well and keeping the equipment well-maintained.

Working in nearly every position, from receptionist to engineering major sessions, O’Brien has worked her way up the ranks to become a respected and well-known member of the pro audio community. For more information, contact mrbonzai@mrbonzai.com.

Gabe Tesoriero

Kyle Lassegard

Def Jam Recordings has promoted Gabe Tesoriero to Executive Vice President, Media and Artist Relations. Based in New York, Tesoriero will work closely with the East Coast and West Coast staffs on behalf of the artists and executives of Def Jam Recordings and its affiliate labels.

He will lead media, publicity, creative and imaging campaigns for Def Jam’s roster of Multiplatinum, award-winning legends and superstars, as well as the company’s new and developing artists. Tesoriero is a 10-year veteran of Def Jam, having served as Senior Vice President, Media and Artist Relations for the former Island Def Jam Music Group since 2012. For additional information, contact renata.muniz@umusic.com.

Hosa Technology has promoted Kyle Lassegard to Marketing Manager.

Lassegard will oversee a number of crucial operations for the company. These include developing and executing the organization’s advertising and promotional activities, including print, electronic media and trade show activities. In addition to directing copywriters, graphic artists and web developers in the creation of the company’s web content, he will also write, design and edit the company’s promotional and collateral materials. Further, he will oversee all design and usability aspects of the company’s websites in support of Hosa’s overall sales and marketing initiatives. For more information, contact rmaycock@mountaincrest.net.

Export Sales Manager PMC

Senior VP of A&R Republic Records

President ARGOSY

Executive VP of Media, Creative Development Def Jam Records

VP of Publicity Epic Records

Executive VP of Marketing Ernie Ball Inc.

Traffic Manager Vintage King Audio

Marketing Manager Hosa Technology

April 2015

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– BARRY RUDOLPH barry@barryrudolph.com

FUCHS AUDIO TECHNOLOGY FULL HOUSE-50 GUITAR AMP The Fuchs Audio Technology’s Casino Series of guitar amps come in power output ranges from 4 to 100-watts. Right in the middle at 50 watts are the Full-House-50© heads and combos with the same tubes and circuit found in other Casino models. Great for small stages, recording studios or back at the homestead, it uses the ODS preamp circuit and comes with custom-wound, U.S.-made power and output transformers.

The Casino amps feature an aircraft grade anodized aluminum chassis, a back lit logo, side-chain effects, adjustable 24-bit digital reverb and buffered series effect loop. You also get overdrive volume and tone controls, separate gain controls for both clean and dirty channels, a full set of high, mid and low tone controls and a two-way gain and channel switching footswitch.

Clean Channel 1 provides “California clean” that you can gain boost to a mild crunch or switch over to Channel 2 and continue towards more crunch and gain boost into a heavy saturation. Get Plexi brightness and crunch using the overdrive tone control and know that the side chain introduces no loss of tone quality or feel.

With a five-year warranty, the Full House head is $1,995 and the combo is $ 2,195 MSRP. fuchsaudiotechnology.com

MICHAEL KELLY GUITARS 1950 SERIES The new 1950’s Series of single cut guitars are available in five distinct “Tele” style models with features, fit, finishes and the playability of much higher end instruments. At under $1,000 MSRP each, all feature exotic wood tops and contoured arm cut, master volume and tone controls, a three-way pickup selector and coil taps for sonic range and versatility.

I took a look at the 1953 model MK1953CB with Caramel Burst finish over a flame maple top, alder binding and body, rosewood fret board on a bolt-on maple neck, bone nut, and 25.5-inch scale. The action felt good for “right out of the box” and I especially liked the sound I got splitting the pickups and playing through my (stock) Fender Blues Junior amp.

Cleaning up the amp and switching to the bridge pickup only offered oodles of super-bright and spanky tone great for country pickin’ or traditional funk/R&B playing.

A great line of 1950’s tribute guitars, they range in price from $549 to $875 and are available with chrome or black hardware. michaelkellyguitars.com

GOGO CALIBER PEDAL TUNER GoGo’s Caliber Tuner has a calibration mode accessible on its side for setting the tuner to alternate references other than A=440 Hz. You can set it to reference pitches from 430 Hz to 450 Hz but know that whatever “A” frequency you choose, it is indicated right on the display.

I liked the gun metal or metallic silver case of this chromatic tuning pedal, and I found the +/- .5-cent accuracy so exact it showed the wonky behavior of a new set of strings immediately. The Caliber will detect pitches from A0 (27.5 Hz) to C8 (4,186.00 Hz) making it ready to tune bass guitars, synths and well as drop tuned guitars.

The pedal is equipped with true bypass and provides daisy chain power jacks for other pedals and the giant high definition screen makes it is easy to see GoGo’s signature “green you’re in, red you’re out” display. A standout and big winner down on my pedal board.

The GoGo Caliber Pedal Tuner sells for $99 MAP. facebook.com/GoGoTuners

YAMAHA DTX502 HYBRID PACKS The DTX502 Hybrid Packs are for drummers who are looking to combine acoustic and electronic elements into one kit that plays well, programs sounds fast and sets up easily. These Hybrid Packs simplify the process and include all necessary cables and hardware to start sounding great—for live situations just add your own amplification.

To start from scratch, you could get the DTX502, a five-piece Stage Custom Birch acoustic drum set with Yamaha 700 Series hardware, a DTX502 sound module, two acoustic drum triggers and two electronic drum pads: the TP70 (7-inch single-zone) and the XP80 (8-inch 3-zone). It also includes trigger cables and all mounting clamps ready to attach to the kit.

If you already own a kit, there are three other DTX electronic systems packs that are expandable to add up to 12 pads. All of the packs include a DTX502 module, two acoustic drum triggers and all the cables and mounting hardware.

The DTX502 Hybrid Pack with acoustic drum set is $2,600; DTXHP570 $660; DTXHP580 $990; and the DTXHP587 is $1,150. (All MSRP prices).

4wrd.it/502HybridPacks 10 April 2015

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PORTRAITS

IN TONE For the bulk of his 2014 tour with the Winery Dogs and his recent solo tour, Richie Kotzen was spotted using a mysterious red pedal by Tech 21. Countless photos and questions were posted on the internet by fans craving to know more. A gifted player known for his unique style, Richie is also highly respected for his tone, so who could blame them? .OT JUST ANOTHER VERSION OF THE &LY 2IG SIMPLY BEARING HIS NAME

THE 2ICHIE +OTZEN 2+ 3IGNATURE &LY 2IG® WAS A CLOSE YEAR LONG COLLABORATIVE EFFORT -ETICULOUS ABOUT EVERY FACET OF HIS PLAYING SINGING

SONGWRITING AND TONE 2ICHIE S ATTENTION TO THE DETAILS OF THIS PEDAL WAS NOTHING LESS 7HAT DISTINGUISHES THE 2+ FROM THE &LY 2IG IS 2ICHIE S 3IGNATURE /-' OVERDRIVE 4UNED SPECIlCALLY TO 2ICHIE S EAR THE /-' SECTION

BRINGS IN THE ORGANIC #LASS ! STYLE DISTORTION BUT WITH A TIGHTER SNAPPIER RESPONSE )T IS DESIGNED TO ARTICULATE EVERY NUANCE OF 2ICHIE S DIZZYING PLAYING STYLE FOR ALL MODES AND MOODS FROM CLEAN TO AGGRESSIVE AND FROM RHYTHMIC CHORDS TO INlNITE SUSTAIN WHEN IT S SOLO TIME 4HE 2+ OFFERS THE SAME OTHER ESSENTIAL FEATURES AS THE &LY 2IG THE ALL ANALOG 3ANS!MP© REVERB DELAY WITH TAP TEMPO AND A POWERFUL BOOST &OR mY GIGS ACROSS THE GLOBE JAMMING AT THE LOCAL HANG AND RUNNING OFF TO LAST MINUTE SESSIONS JUST POP YOUR 2+ INTO YOUR GUITAR CASE AND HEAD FOR THE DOOR

PHOTO BY GREG VOROBIOV

!CTUAL SIZE vL X vW X vH s 7EIGHT OZ

4HE 2ICHIE +OTZEN /-' 3IGNATURE /VERDRIVE IS ALSO AVAILABLE AS A STAND ALONE PEDAL

$%3)'.%$ !.$ -!.5&!#452%$ ). 4(% 5 3 !

WWW.TECH21NYC.COM

– BARRY RUDOLPH barry@barryrudolph.com

AUDIO-TECHNICA AT5045 CONDENSER MICROPHONE With its large, rectangular electret capsule set in a rugged housing of aluminum and brass, the hand-built AT5045 side-address cardioid condenser is the latest addition to A-T’s 50 Series and is available separately or in stereo pairs badged AT5045P. It uses a two-micron thick, vapor-deposited gold diaphragm that is pre-aged to ensure the mic’s sonic characteristics are fixed and constant over time and as a close instrument microphone, the AT5045 has the ability to handle sound pressure levels up to 149 dB SPL. One of my first tests was to mic a Fender Blues Junior amp. I positioned it offcenter to the amp’s twelve-inch speaker and it perfectly captured the amp’s sound without distorting. Next I tried both AT5045 mics in the AT5045P kit set up in a coincident X-Y stereo pair to record an ESP steel string acoustic guitar. I loved how accurately I could set the two capsules’ angles. The sound was present and clear without being too bright or excessively boomy.

The AT5045s are perfect for drum overheads, percussion, acoustic guitar and string instruments. With the AT8481 isolation clamp, AT8165 windscreen and custom hard-shell carrying case, the AT5045 sells for $1,399 MSRP. The AT5045P stereo pair is $2,499 MSRP. audio-technica.com/cms/wired_mics/fba62d0246d216b3/index.html

ARISTIDES INSTRUMENTS’ SSS 060 GUITAR Like all the Aristides guitars, the entire SSS 060 guitar including the 25.5-inch scale neck is made of a single piece of Arium and includes a choice of Seymour Duncan or Bare Knuckle single-coil pickups in the bridge, middle and neck positions. The five-way switch and single volume and tone controls offer a wide variety of pickup tone configurations.

The C-shaped neck is 1.65-inches wide at the nut and available with either a maple, rosewood or ebony fingerboard and 24 medium, jumbo frets. Hardware is available in chrome, black or gold finishes and includes a Hipshot Contour tremolo, Hipshot’s Grip-Lock tuners and Schaller strap locks. Each guitar is set up with a Graphtech Black TUSQ nut, D’Addario Nickel Wound XL 10-56 strings and outfitted with an anti-theft security microchip.

The Aristides Instruments SSS 060 guitar sells for $2,840 MSRP and is available in matte black, white high gloss (pictured), cream white matte, deep sky blue or baby blue matte metallic finishes, the guitar ships in a Gator XL hard case. aristidesinstruments.com/page/o6o.html

HOSA DRIVE SERIES The Hosa Drive Series is a collection of interface components that makes possible the interconnection of smart phones, computers and stereos over to PA and consumer playback equipment.

The centerpiece is the Hosa Drive Bluetooth Audio Receiver that is offered with a selection of interconnection cables to connect it to any existing audio system. The Drive Receiver uses the latest version 3.0 technology to wirelessly stream music at up to 24 Mbps to any playback system with minimal lag or signal loss.

I quickly “paired” with my iPhone 6 and then used the set of TRS-to-TRS cables provided to connect the Drive’s 1/8-inch stereo output jack directly to my studio's monitor auxiliary controller input.

I found the range to be 33-feet or better and you get about 10 hours operation per charge using the included mini USB cable. I streamed music from iTunes® and it sounded great similar to using a high quality audio cable.

The Hosa Drive Series cables ready for any interface requirement are: 3.5 mm TRS to TRS, and 3.5 mm TRS to Dual RCA in 1.5, 3, 6, and 10-foot lengths.

The Hosa Drive Bluetooth Audio Receiver sells for $54.95 MSRP. The Hosa Drive Stereo Breakout Cables range from $14.95 to $34.95 MSRP. hosatech.com/product/ibt-300

FISHMAN PLATINUM PRO EQ The Platinum Pro EQ ($399.99 MSRP) pedal and Platinum Stage ($194.99 MSRP) belt-pack acoustic preamps are two new additions to Fishman’s family of preamp products for processing and amplifying any acoustic instrument fitted with a pickup.

I put the Platinum Pro EQ high-headroom Class-A pre-amp to work amplifying and improving the sound of a Takamine Model AC/TGB acoustic guitar. I liked that there is a ¼-inch output jack for the stage amp plus a fully-balanced XLR DI output switchable to either Pre, the guitar’s dry signal, or Post with the pedal's processing.

I liked the choice of Fishman Classic EQ frequency centers for the Bass, Treble and Brilliance controls—for acoustic basses, they’re switchable down the octave using the Guitar/Bass switch.

It was easy and fast to find and reduce the Takamine’s “bite” using the sweepable (200 Hz to 3.1 kHz) mid-range frequency EQ. The guitar’s propensity to feedback was handled using the phase/polarity flip switch and the tunable 45 Hz to 1 kHz notch filter.

The Platinum Pro EQ is a rugged all-metal stomp box; it has durable foot switches to toggle the adjustable volume boost or high-contrast chromatic tuner.

With an effects loop, LED indicators for all functions, nine-volt battery-powered, and useful for guitars or bass instruments, the Fishman Platinum Pro has everything you need to produce an excellent and finished sound from any guitar, bass, mandolin, or violin. fishman.com

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 and loves teaching audio engineering at Musician’s Institute, Hollywood, CA. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com

12 April 2015

musicconnection.com

BOOK S T ORE Brian May’s Red Special: The I Fought the Law: The Life and Story of the Home-made Guitar Strange Death of Bobby Fuller That Rocked Queen and the World By Miriam Linna and Randell Fuller

By Brian May, Simon Bradley (hardcover) $30.00 For 50 years, Brian May played the Red Special on every Queen album and live show. May and his father started to hand-build that guitar in 1963––a year-long project. May dreamed of a guitar that would outperform any commercially made electric guitar; his father had the knowledge and skills to help that dream come true. They were resourceful: the neck constructed from wood from an 18th-century fireplace mantel and each position inlay hand shaped from a mother-of-pearl button. Unseen sketches, diagrams and notes accompany the text.

Understanding and Crafting The Mix, 3rd Edition

By William Moylan (paperback) $44.95 This book fills in so many gaps, mysteries, misconceptions and misunderstanding about what actually happens to us when we are recording, mixing and listening to music. There are clear and systematic methods for identifying, evaluating and shaping artistic elements in music and audio recording. Exercises using downloaded music files will help develop critical listening and evaluating skills for greater control over the quality of your recordings.

Recommended by MC’s Barry Rudolph.

Girl in a Band: A Memoir

By Kim Gordon (hardcover) $20.51 Often described as aloof, mysterious and the embodiment of “cool,” Kim Gordon, founding member of Sonic Youth and femme/grunge fashion icon, tells her life story in this candid, sometimes intense, memoir. Gordon relates memories, observations and philosophy about her life as an artist, her ill-fated marriage to SY’s Thurston Moore, the impact of divorce and collaborations with artists such as Gerhard Richter, Spike Jonze, Chloe Sevigny and Kurt Cobain.

14 April 2015

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(paperback) $19.95

On July 18, 1966, at the age of 23 and with a Top 10 hit, “I Fought The Law,” on the charts, Bobby Fuller was found dead in a car doused in gasoline outside his Hollywood apartment.

In this new book––the first-ever authorized bio of the Texas musician––Norton Records/ Kicks Books co-founder Miriam Linna teams up with Bobby’s brother and bandmate in the Bobby Fuller Four, Randell, to “reveal the true story of the short life and strange death of Bobby Fuller.” The book delves deeply into Bobby’s childhood, his band’s rise to local fame in Southwestern Texas, his national breakthrough and shocking death.

Stomp On This!: The Guitar Pedal Effects Guidebook

By Brian Tarquin (paperback) $22.19 Here is an inside, in-depth look at guitar pedal effects from brands like Keeley, Snarling Dog and Maestro to bigger names such as Boss, Ibanez and MXR. The book begins with a brief history of pedals, from the ‘60s to the present, and considers such landmark designs as the wah and overdrive, and goes on to cover a vast range of modern pedals.

Tarquin also interviews designers such as Mike Mathews of Electro Harmonix, Jim Dunlop, Seymour Duncan and Robert Keeley.

Going into the City: Portrait of a Critic as a Young Man

By Robert Christgau (hardcover) $27.99 The “Dean of American Rock Critics” takes us on an ultra-personal tour through his life that is both a love letter to a New York long past and a tribute to the transformative power of art. Christgau has chronicled many key cultural shifts of the last half century and revolutionized the status of the music critic in the process. Going Into the City is a look back at the upbringing that grounded him, the history that transformed him and the music, books and films that showed him the way.

WINNERS OF 7 AWARDS AT THE 2014 LA MUSIC AWARDS PRESENTATIONS

The Future of Rock N Roll‌ Vittorio and Vincenzo of V2 Download their Award Winning Album at www.VSquared.rocks April 2015

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– JONATHAN WIDRAN

AFM & SAG-AFTRA afmsagaftrafund.org

Securing and Distributing Royalties for Non-Featured Performers: On the main page of the website for AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, a key question is asked (“Do we have royalties for you?”) followed by the non-profit organization’s mission statement: “Committed to the collection and distribution of equitable remuneration, and the advancement of Performance Rights for musicians and vocalists domestically and internationally.” Listed are the three main categories the organization works tirelessly to collect royalties for: Sound Recording (non-featured session musicians and background vocalists), Audiovisual (union Musicians and Vocalists on Motion Pictures and TV programs exhibited in Specific Foreign Markets) and Symphonic (symphony, opera and ballet musicians and vocalists). Unlike many other rights collectives, membership is not necessary. A claim is made for an eligible recording to a particular collective or set of collectives, research is performed to identify all performers on that recording(s), and a distribution occurs. With a staff of 50, the organization currently collects $45 million a year for performers.

Above (l-r): Director General AISGE Abel Martín Villarejo, Lorena Hirsch, Dennis Dreith, Shari Hoffman and AISGE’s Director of International Relations José Maria Montes.

Below (l-r): Lisa Finne, Shari Hoffman, Dennis Dreith, Dan Navarro, John Connolly.

History of the Merger and Changing Copyright Law: Initially formed by the American Federation of Musicians (AFM) and the American Federation of Television and Radio Artists (AFTRA), the Fund is an independent entity whose purpose is to collect and distribute royalties from various foreign territories and royalties established by government statute under U.S. Copyright Law. The U.S. Copyright Act, which originally covered performance rights only for publishers and authors, had some very significant changes to the U.S. laws in the ’90s. Among these was the Digital Millennium Copyright Act of 1998 (DMCA), which amended the original Copyright Act to provide performance royalties in digital media (subscription services, webcasting, home taping).

Actively Seeking Contact Info For Unclaimed Royalties: AFM & SAG-AFTRA maintains a list of individuals that have been credited for covered sound recordings but for whom they currently have no address/ contact information. These individuals may be entitled to a check. Those on the list at afmsagaftrafund.org/unclaimed-royalties.php can complete a Performer information form. There will also soon be a list called “No Credits Found” for those who have appeared on recordings but have not been properly credited.

16 April 2015

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17

TAYLER AUBIN

Enabler Don’t Fail to Feel Safe Ohio-based hardcore/metal outfit Enabler entered Silver Bullet Studios in Burlington, CT with engineer Chris Teti and producer Greg Thomas, who also produced the band’s 2012 album, All Hail The Void. Mastering will be done

by Bill Henderson at Azimuth Mastering. The band’s new album, Fail to Feel Safe, is slated for an early summer 2015 release. Pictured (l-r): vocalist/ guitarist Jeff Lohrber and producer Greg Thomas. For more information, visit enablerband.com.

Canadian Artist Tracks in Nashville Canadian country star Gord Bamford hit the studio with ole’s John Ozier (ole General Manager, Nashville Creative). Bamford recorded music for a new album with producer Phil O’Donnell at Legends Studio in Nashville, TN. It will be the follow-up to Bamford’s 2013 release, Country Junkie, which produced the No. 1 Canadian Country Chart single “When Your Lips Are So Close.” Pictured (l-r): Ozier and Bamford. Visit gordbamford. com for more.

Lavish Opens to Public Scott Weiland (Stone Temple Pilots, Velvet Revolver) has opened his recording studio to the public. Lavish Studios has been Scott’s private sandbox since 1997, where many STP and VR songs were written and recorded. The tracking room is 30’ x 45’ with 14’ ceilings, and includes a 15’ x 15’ stage and a baby grand piano. The studio sports a Studer 24-track 2” tape machine, MCI 528b console, Neve BCM10 sidecar, 1955 Neumann U47 and a bevy of vintage outboard gear, guitars, and drums. Pictured at the vintage MCI console: Studio Manager/Producer Rocco Guarino. For more info, visit lavishstudiosla.com.

GC Pro Helps Outfit Vanquish Studios Vanquish Studios, located in Davie, FL, was designed by Blank Design Group with systems integration by Malvicino Design Group and gear sourced through Guitar Center Professional (GC Pro). GC Pro-sourced gear includes Pro Tools and a full software complement; microphones from AudioTechnica, AKG, Neumann, Sennheiser, Sony and more; monitors from ADAM, Genelec, Yamaha and others; and outboard gear from brands such as Focusrite, Lexicon, Universal Audio, Apogee and more. Visit gcpro.com.

Producer Playback “The more you know about your craft, the better you’re going to be.

If you want the quick, shortcut way, you’re going to have quick, shortcutsounding songs.” – Philip Lawrence, producer (Lil Wayne, Cee Lo Green), June 2013.

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–SIRI SVAY siri@musicconnection.com

Lala Mansion Grows with SSL Duality Lala Mansion began as a private recording room in Tampa, FL built and designed by Tom Morris from Morrisound Recording. At that time, studio owner Don Miggs was looking for a writing room, but Lala Mansion has grown into a studio outfitted with an SSL Duality mixing console, and Boyz II Men was the first group to get a turn on the board. In late 2014, Miggs decided that an SSL mixing console was no longer something “nice to have,” but a necessity. For more, visit solidstatelogic.com.

Faith No Maor

Kramer Finds Lost Coyote at East West Producer Eddie Kramer bumped into old friends at East West Studios. Kramer was mixing in Studio Two while Lost Coyote was filming their music video, “Moving On Down The Line,” in Studio One, the same studio that Elvis Presley filmed his ‘68 Comeback Special. Pictured (l-r): Lost Coyote’s Bill Stewart and Chris Lawrence, Kramer and Lost Coyote’s Brian C. Stewart and Dusty Wakeman. For Lost Coyote’s music video, visit youtube.com/watch?v=F-DSCd9k_sM.

TARINA DOOLITTLE

Los Angeles-based mastering engineer Maor Appelbaum mastered the new Faith No More album Sol Invictus at his facility Maor Appelbaum Mastering.

This is the band’s comeback album after 18 years, set to release on May 19.

It was produced by their bass player Billy Gould and mixed by engineer Matt Wallace. Pictured (l-r): Wallace, Appelbaum and Gould. For more information, visit maorappelbaum.com.

The Restless Ones Alternative-rock band Heartless Bastards worked at Sonic Ranch studio in El Paso, TX for their upcoming album, Restless Ones, due out on June 16. The album was produced, engineered and mixed by John Congleton. Pictured (l-r): Heartless Bastards’ singer, guitarist and songwriter Erika Wennerstrom and producer Congleton. For more information, visit the band’s website at theheartlessbastards.com.

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PRODUCER CROSSTALK

Mirage, Sly and Robbie, Breaking Bad

TEE-DOUBLE

By Rob Putnam

A

ustin, TX has risen to the fore as a creative mecca. Hip-hop artist, producer and advisor to fledgling artists Tee-Double (a.k.a.

Terrany Johnson) knows this well. He started writing music at the age of nine. He self-releases about two records a year through his label Kinetic Global Media Group and also helps artists through Urban Artist Alliance, a non-profit he founded to advise and guide new voices.

He adopted a self-sufficient approach when, as a youth, he read the The three most important jacket of Prince’s Controversy. “‘Writthings he’s learned as a ten, produced and arranged’ by one guy,� he recalls. “That’s how I thought producer are: you made records. Now I write, produce, mix and master all of my own s $ON T GET STUCK IN YOUR WAYS projects. I even ship from here.

4HERE ARE ALWAYS NEW TECH“I handle 90 percent of my conNIQUES NEW PLUG INS tracts,� he continues. “There are ways to negotiate revenue from licensing s "E WILLING TO LEARN AND TO LISTEN instead of up-front fees. The revenue and publishing from my song ‘Bringing s 9OU VE GOT TO LOVE IT TO DO IT It Back’ in Breaking Bad will probably 4HERE ARE ALWAYS POINTS WHERE come forever. The way I structured YOU RE NOT MAKING RECORDS NOT my licensing deal, I get the final say.

TOURING I decide where my music gets placed in and the back-end deals. I’ve also placed in indie films with step deals. It’ll be in festival movies and if it gets picked up, then my money kicks in. Those can pay off in the long run.�

The secret to a good song is emotion. “You can take bad lyrics, sing them well and make it a good song,� he asserts. “It’s all about feeling. Today, most people care about rhythm and hooks—even more than verses.

If you want a song that’s going to be listened to for years, the emotion and words have to be right. Think of early Motown: Marvin Gaye and Smokey Robinson sang those songs so well. That’s what sold them.�

Tee-Double launched Urban Artist Alliance after witnessing shortcomings of other non-profits intended to help artists. He funds it personally and now artists reach out to him from across the country. “We consult to artists; we teach them the music making process: before, during and after,� the producer explains. “We show them how to make music, how to get a record and/or licensing deal and how to interact with the industry. We pull artists away from doing mix-tapes and get them back to making albums. You can make 20 mix-tapes, but that’s other people’s music. You’re not earning any money. Those mix-tapes could have been albums in your catalog.�

Kinetic Global emphasizes artists over revenue; innovation rather than trend chasing. “I’ll never sign an artist ’cause they’re the new hip thing,� he says. “Trends come and go. Most of what you hear today was developed a year ago and is now just hitting market. I produce records ’cause I like the music and person. I don’t have to do it to pay bills. That’s a good situation ’cause you can [then] be more honest about the music.�

Currently he’s working on a new record and further licensing opportunities while several projects incubate. Meanwhile, Urban Artist Alliance consumes about half of his time. “I’m big on artists learning as much as they can about the business,� he says. “I learned about publishing when I was 13. We have to educate artists about the industry so they don’t repeat the mistakes of others.�

Contact Tee-Double, teedouble.com, terrany@kineticglobal.net

20 April 2015

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April 2015

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– ANDY KAUFMANN

Tony Valenziano

he’s his 14-year-old self playing in his bedroom, saying, “I’m going to be a star.”

Once a musician, always a musician.

You’re never losing that.

Years with Company: 20 Address: 12400 Ventura Blvd. #444, Studio City, CA 91604 Phone: 818-850-3811 Web: smilerecords.com E-mail: thesmilemediagroup@gmail.com Clients: the Knack, the Andersons, the Stand, the Oranges, sparkle*jets U.K., Smash, Hutch, Stew, Carla Olson, the Wondermints.

Do Your Part What’s the buzz? What’s your story?

You’ve got to create that and then I can help you. Artists [need] to go on the road and go through the trenches.

Everyone has gotten to the point of, “Oh, we don’t have to do that, because I have the Internet. I can just do a video and everyone in the world can see me.” How does everyone even know how to look for you? No one’s interacting with you; they have no connection. You need to be proactive; you need to be a participant in your career. Without your participation, we’ll have a very difficult time.

President Smile Media Group

BACKGROUND Under the rubric of Smile Media Group, Tony Valenziano has united a host of entities he has been involved with for over 20 years––Smile Records, Swingtone Records, Something Music and TKO Entertainment. A musician himself with A&M Records’ act, the Stand, he has recently decided to return to his creative roots by expanding his role as a producer.

“You need to be proactive; you need to be a participant in your own career. Without your participation, we’ll have a very difficult time.”

A Model Employee I was in a band and working at a studio, so I knew what time slots were open. We started doing demos and I recorded other people. In this town, if you want to be a producer, you should have your own label.

I had a deal through Universal at the time.

When that all went bye bye, there was interest at Image Entertainment in a family-owned catalog.

It’s run by my father and he’s had it since 1991.

That built up into my getting the Smile bands–– the Wondermints, the Knack, Carla Olson, Supremium and more. Through the years, I started dealing with dinosaur heritage acts and managers. They were all looking for outlets. They liked the infrastructure of what we were doing, so Smile Records morphed into Model Music Group.

An Expensive Lesson Before Model Music Group, I was President of a Sony label called Icon Music. We were handling their legacy artists. Beautiful offices in Culver City and Sony was next door. We were there for six or seven months and the owner said, “Hey, we’re moving to Beverly Hills. Why? I got a better place. Come get your stuff.” The guy took all our money and fled to Mexico. He took a monster chunk of all our cash and never paid us.

Skyrocket, which is a marketing services company that complements all the labels we do.

Fans Who Like Physical When dealing with a Berlin, Dave Mason, Rickie Lee Jones, Bangles or John Waite, their fans are pretty established. I don’t have to build that up and their fans still love tangible [media].

Digital is catching up, but it hasn’t really caught on 100 percent. So with our releases, I always put out LPs, because I know my target market is a crowd that enjoys having a physical piece.

Serving All Artists I always look for different artists and we have a smorgasbord of places to go. It starts from brand new bands to the Hall & Oates of the world. It’s our job to build artists and take them from ground zero to where they want to be. If we’re a stepping stone, that’s great. We work with and for each other and a lot of these deals are 50/50. We’re in it for the long haul.

Bringing It Together Model Music Group started at Fontana/Universal and I signed John Waite and the Bangles. There were other artists in our group, like Al Jardine and Micky Dolenz. One of the guys I got involved with was John Waite’s manager Ron Stone.

Model Music was the remnants of another thing on its way out, so we formed Something Music. I had to come up with an entity [to put it all under] and that’s how Smile Media Group became a thing. It was just an aggregator to be able to have a distribution deal at all times, access to artists, access to songs. This was an outlet for all that.

Between Two Worlds We’re a major-distributed, indie-focused label.

We’re not spread out like a major. We handle a manageable amount, so when [our artists] call, we actually speak with them or their management. We’re not too busy to do that. We live in between the guy pushing his own record and the majors; there’s money to be made there. There’s a lot more music, because the majors don’t know what to do with them unless it catches on. I like those artists because they’re hungry and have done the grassroots part.

We’re able to help them with the machinery. We have the access that they’re looking for.

Skyrocket Taking Off I knew Kevin Day from before, especially at Icon. We were going to use his Rocket Science marketing company. When things started rolling with Something Music, we wanted Kevin to work with us, so he and I started working hardcore together. He and I have now developed

The Musician’s Mindset When you’re an artist, your mentality is different.

You’ve got to stay focused on that trueness inside of you; why you’re the creative person that got involved in the first place. Keeping that passion from day one is difficult, but that’s where you need to stay. Tom Petty still thinks

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If You’re Starting a Label, Love It People with success at the label level are like me—they’re passionate. I produce acts and think, “Man, people have to hear this.”

That’s why I started. I wanted those people to have a chance. If you can find the right partner and distributor, you’re on a good path. It’s an interesting flight once you get on it, but once you’re on, you’re on for life.

Labels as Seal of Quality I used to buy records just because the label was cool. You went off the brand, because you trusted they were going to give you some good music. That’s what I’ve always dreamt about having. I’m doing stuff for everybody. I’m not just keying in on what Tony’s about and that’s it.

The New Model When Kevin and I were doing a Rickie Lee Jones project, people knew about Kickstarter, but nobody really knew about PledgeMusic. It wasn’t big at the time, but it was catching on.

Ron [Stone] was managing Bonnie Raitt and Kevin suggested, “If you reach out to your fans you can make this record.” She did and she was so grateful to her fans that she fired Ron. “What do I need you for if I can do this on my own and keep the money?” When I heard about that, I thought we should do something like that with our artists. The Rickie Lee Jones project took on a life of its own. We were only asking for $40K. And we got $116K! We looked at each other and knew this was the ultimate business model.

We understand it to be a presale. It’s become its own store. Rickie Lee Jones has more CDs she’s going to sell to them in the first week than she’ll probably do at retail. Within a week, we’re charting. People are going to know about it.

We have marketing money. You raise money and it’s not a recoup. It’s money you don’t put against a statement. I can hire a publicist for six months instead of three or get a radio person on for the life of a single versus a 12-week run.

Fighting Perception According to RIAA, the percentage of all sales that’s digital is 14 percent. Vinyl’s up, only three-six percent of all sales, but you can’t beat perception. Streaming is the new love. You’re buying radio and it’s your music, anytime you want to play it. But if you look at the numbers, CDs are still there. Is physical down? Sure. But vinyl’s up, so physical’s holding. I know a label out here that only makes cassettes. But trying to beat that whole digital thing is a pain in the butt.

– BERNARD BAUR

OPPS

B Walker Shoes and Urban Threshold Enterprises are seeking artists for the B Walker Shoes Jingle Contest. The objective is to record and perform an original jingle you’ve written, describing the attributes of the footwear company’s wares. The entry submission must have a minimum of two shout-outs to B Walker Shoes, and include the following statement: “If It Doesn’t Say B Walkers of London It’s Not Official.” The contest is open to singers, rappers and bands.

The Grand Prize winner will receive $500 in cash and prizes.

You are eligible if you are at least 21 years of age and are a U.S. resident. Upload your jingle to YouTube and label it as “B Walker Shoes Jingle - Your Name.”

Then email the YouTube link, your full name, stage name, age, phone number, city and state to BWalkerContest2015@gmail.com.

One submission is allowed per entrant. The deadline for entries is April 15. The winner will be announced on May 25. For further details, go to bwalkershoes.com.

The CD Compilation “Radio Hits Volume 10” has an open call for musicians. All genres of music are accepted and musicians from all over the world are invited to submit their best songs. Promotion and publicity will be provided by project partners, including Vision SD Pictures (music & film promotion and production), Jan Spano (music manager), TopFest (music festival), Hammer World (music

magazine), Rock and Pop (music magazine), Fajn Rock Music (radio), MotorosHang (radio), and RockHard (music magazine). The Compilation will be delivered to radio stations in the USA, Canada, Germany, Austria, and Czech Republic. For consideration, send your MP3, and/or video link (if any) to sefredaktor@bojoveumenia.com.

Nashville Rising Star, a discovery vehicle for emerging artists, has announced a partnership with Country Fan Jam, a music festival being held June 11 to 14, 2015 at the Tennessee State Fairgrounds.

Artists who would like to perform in front of industry and fans are encouraged to submit material to countryfanjam.com and/or nashvillerisingstar.com. The grand prizewinner of Nashville Rising Star Series 3 will perform on Country Fan Jam’s main stage before a headlining act. The four finalists of Nashville Rising Star will share a one-hour block of stage time on Country Fan Jam’s acoustic stage.

New Music Seminar (NMS) wants to find the “Top 100” artists about to break through in today’s market, i.e. “Artists on the Verge” (AOV). To qualify, artists must demonstrate positive career momentum and cannot be signed to a major independent or major label. Those chosen will be given the opportunity to perform as a part of NMS New Music Nights Festival, held on June 21 to 23 in New York City. The AOV Project has featured many

GENIUS BRANDS TAPS FAIRCRAFT FOR CHILDREN’S MUSIC Genius Brands International has partnered with Ron and Stefanie Fair (Faircraft Inc.) to oversee children’s music. Industry veteran Ron Fair and his spouse Stefanie (a singer, songwriter, producer and actress) will operate as GBI’s music content development unit with Ron serving as Exec.

Music Director. The dynamic duo has written for and produced numerous award-winning artists, including Pussycat Dolls, Black-Eyed Peas, Mary J. Blige, Fergie, Christina Aguilera and Lady Gaga. The Fairs will provide creative direction and consultation for GBI’s new original content including the animated series Thomas Edison’s Secret Lab, as well as its library of programming, which includes the classic Baby Genius. See gnusbrands.com.

MC HOT 100 ACT MARK MACKAY DROPS NEW EP Music Connection “Hot 100” artist Mark Mackay has released a new EP, titled 11 Miles Out of Nashville. Mackay practices a DIY work ethic that is extraordinary. His marathon-touring schedule alone exemplifies his drive and ambition, with dates in California, Arizona, Nevada and Colorado. It’s as if this dude never sleeps! A combination of blues-rocker and country picker (a la Keith Urban), Mackay delivers brilliant vignettes drawn from his life and love of the open road. Doing it his way, Mackay gave every patron who attended his CD release party a free copy of the EP. To learn more about this up-andcomer, go to markmackayoffcial.com. artists before they broke, such as Macklemore, The Pains of Being Pure at Heart, MisterWives, Action Bronson, Schoolboy Q and Joey Bada$$. All AOV performers are invited to showcase their talent during the New Music Nights Festival, and the top three will be chosen to perform at a special event where they will be exposed to leading and influential industry reps. One winner will be announced on Tuesday, June 23 and will walk away with thousands of dollars in studio time, consultations, promotions, marketing, music equipment, and more. Visit newmusicseminar.com.

Music Gorilla has announced a partnership with Cadenza, the tool that helps indie musicians get access to A&R services.

The partnership will see a boost for independent musicians around the world in realizing their musical ambitions. With both companies exposing each other’s services to their respective communities, bands and artists looking for their big break can leverage Music Gorilla and Cadenza’s partnership to enhance their profile to the music industry. Music Gorilla’s marketplace lets artists submit for music and songwriting placement opportunities, and receive the opportunity to play in major label showcases and get feedback on their performances. Cadenza is powered by an algorithm that uses 64 sonic data points to analyze your music. By sonically analyzing

a musical track, Cadenza gives insights into what makes the music work, who will like it, other tracks it sounds like, and where the artist might find success. See musicgorilla.com.

,!"%,3s2%,%!3%3 SIGNINGS

Tori Amos will release 2-CD deluxe editions of her debut and sophomore solo albums, Little Earthquakes and Under The Pink on April 14 via Rhino. Each record is newly re-mastered and paired with an entire disc of rare B-sides and bonus tracks. The re-mastered versions of both original albums will also be released on 180-gram vinyl on the same date, marking the first time both albums will be available on vinyl in the US. Amos has sold over 12 million albums, played over a thousand shows and has had multiple Grammy nominations. A pioneer across multiple platforms, she was the first major label artist to offer a single for download, has had her songs turned into graphic novels, a successful musical and has produced pioneering videos. See toriamos.com.

Hip-hop/metal veterans Hollywood Undead have released their fourth studio album, Day of the Dead, on Interscope Records. The album, the band’s first since 2013’s Notes from the Underground, will April 2015

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– BERNARD BAUR

feature the current single and title track, “Day of the Dead.” See hollywoodundead.com.

2014 UK Music Video Award for “Best Live Concert Film.” See blackrebelmotorcycleclub.com

FOD Records has announced the April 7 release of The Key to the Universe, the new full-length album by Michael Des Barres.

For the British singer, songwriter, musician, actor and co-host on SiriusXM’s nationally syndicated Little Steven’s Underground Garage channel, it’s a return to down and dirty rock music with heavy guitars and unflinching lyrics about life lived to the fullest.

The album’s first releases will be the Linda Perry penned “Can’t Get You Off My Mind” and “I Want Love To Punch Me In The Face,” co-written with Des Barres.

Crunchy guitars and blunt lyrics highlight “I Want Love To Punch Me In The Face.” “I believe that the majority of people find relationships almost impossible and the result of that is going into a love coma,” explains Des Barres. For the latest on this uncompromising artist, visit michaeldesbarres.com.

San Francisco Suicide Prevention (SFSP) announced that they will once again partner with Global Affront, a San Francisco punk rock band, to produce “Rock for Life,” a benefit concert to raise awareness and support for suicide prevention services. Rock For Life is an organization dedicated to suicide awareness and prevention through music. It was founded in 2012

by Rico Colley of Global Affront following the loss of two friends by suicide. “Rock For Life not only raises money for SFSP, it also helps people understand the importance of mental health issues in the community,” states David Paisley, Deputy Director, San Francisco Suicide Prevention. To find out more, or to contribute, go to sfsuicide.org.

Black Rebel Motorcycle Club have announced a release date of May 5 for Black Rebel Motorcycle Club- Live In Paris. The double album and accompanying DVD was recorded live at Theatre Trianon in Paris on Feb. 24, 2014, during the band’s sold-out tour of Europe. In addition to the full concert, the DVD also includes the documentary film 33.3% by Yana Amur, which shows fans an intimate side of the band never seen before.

The concert film was directed by Bartleberry Logan and won the

PROPS

Toronto, Canada’s Harris Institute has announced that the school has so far this year received 24 awards nominations (GRAMMY, JUNO, ECMA, CSA) in the categories of proucer, engineer, Country Album, AC Album, Best Sound in a Documentary and more. Harris alumni and faculty received 27 awards and nominations in 2014. To get the full scoop, see harrisinstitute.com.

Founded by Quinn Boylan, the “Ukuleles for Ukraine” project aims to supply orphans in

KINGS OF CARNAGE WIN SHOWCASE SHOWDOWN Music Business Entrepreneur students at the Musicians Institute (MI) in Hollywood, CA, hosted a “Showcase Showdown” competition for the best performance of a cover song. A variety of MI acts performed for a panel of industry judges who voted for the winner. Heavy metal band, Kings of Carnage took the prize with their wicked rendition of Devo’s “Whip It.”. They also put a metal twist on Michael Jackson’s “Beat It.” A host of grand prizes were sponsored by Music Connection, Bands on a Budget, Melrose Music Studios, Stage Red Studios and ACS Custom. Pictured are the Kings with MBE students. See kingsofcarnage.com and mi.edu (Music Business link).

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DIY Spotlight WHOLEWORLDBAND

WHOLEWORLDBAND could be an exciting new ddition to your DIY toolbox. With WholeWorldBand you can make music videos and collaborate on songs with thousands of other musicians and fans. Essentially, it is an award-winning app that allows creative individuals to make music and videos using only an iPad or iPhone.

It is the only app that features easy multi-track music and video recording along with a built-in rights management system. As a result, WholeWorldBand has been embraced enthusiastically by both serious professionals and emerging artists.

The app and management system already has users ranging from major professionals such as Ronnie Wood (the Rolling Stones), Stewart Copeland (the Police), Phil Manzanera (Roxy Music), Dave Stewart (Eurythmics), David Gray, Within Temptation, Passenger, KODO and New Model Army, to thousands of up-andcoming artists collaborating together.

“WholeWorldBand is the first application to address musical creativity and commerce with the transparency and respect musicians and rights holders have been fighting for,” says Gregory Butler, the newly appointed Managing Director of North America. A creator himself, Butler has worked in the music and TV industries, with credits on over 65 records as well as creating music for the hit television series Project Runway and Top Chef, among others.

WholeWorldBand has pioneered a multi-user DIY platform that provides a way for bands and musicians to engage fans and manage digital rights so that they can earn income from their work.

To learn more about this new DIY tool, visit wholeworldband.com

Have a successful DIY strategy to share? Email bbatmc@aol.com Cherkasy, Ukraine with clothing, shoes, toys, books, medicine, and musical instruments. As part of the musical aspect of this endeavor they will also be providing ukuleles, melodicas and kazoos to help the kids express themselves musically and creatively. There will additionally be English language instruction for the children. The project aims to produce video content documenting the situation and giving local charity coordinator, the “Ukrainian Humanitarian Initiative,” media content to have as an asset and raise awareness with. Donate at gofundme.com/ i05w48.

Ronny North was selected

by Big Fuss Records as an “Artist To Watch for 2015,” for his single “Into The Grey.” North plays his own signature brand of instrumental guitar rock, gets radio airplay, and has been featured in music publications, as well as in a variety of TV and movie productions. He is also sponsored by over 50 music equipment manufacturers and frequently performs at clinics and trade shows. His current release, Inertia (FNA Records), garnered rave reviews. North plans to release

his next effort in early 2015. See ronnynorth.com.

THE BIZ

The Free Radio Alliance, a coalition of over 400 college, commercial and non-commercial radio stations, announced that the Alliance is rejoining the fight to oppose record labels’ latest attempt to enlist the government to levy new fees on radio stations. “The record labels are at it again,” noted Peggy Binzel, spokesperson for the Free Radio Alliance. “They want more money and they want Washington to give it to them—it’s that simple. The multinational record labels can hide behind fancy arguments about copyright law but in the end, what they want is to take money from radio stations and listeners who will get less for free so that they could line their own pockets.” The Free Radio Alliance is made up of big and small radio stations across America that bring listeners every genre of music.

BERNARD BAUR was voted one of the “Top Music Business Journalists” in the country.

Bernard is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.

“I've had 1,064 TV Placements for My Music Because I Joined TAXI” Stuart Ridgway - TAXI Member www.pyramidmusic.com

I

'd seen the TAXI ads (just like this!) hundreds of times over the years and I was very skeptical. But when I got their free information kit and saw that the money back guarantee was for a full-year, I decided to make the leap.

Within weeks of joining, my music was in the hands of some A-list people in the film and TV industry. In less than a year I got the call from the music supervisor at one of LA's hottest TV production companies.

Reality TV and Royalty Checks

We struck up a good working relationship, and when the supervisor needed music for a new daytime reality show, she asked me if I would like to join her team. For the next two years, I wrote music for an Emmy Award winning show, which aired every weekday on NBC. My first royalty check alone covered 10 years of TAXI memberships! All in all, those two seasons netted me more than $50,000, and the company TAXI

Get Paid for Making Music

hooked me up with has hired me to write for two other shows as well.

Being “Great” Wasn't Enough

After making more than 1,000 cold calls, it dawned on me that music supervisors didn't care how great I was as a composer. How could they? They don't know me and that's that! I could only get so far on my own.

I realized I needed someone or something to be my champion somebody to connect the dots.

TAXI worked for me, and if you're really good at what you do, it just might do the same for you.

If your music is up to snuff and you pitch it at the right targets, belonging to TAXI can change your life.

Actually, I may have the greatest job on the planet because I can work in my studio all day, playing piano, writing string lines, recording guitar parts, and the hours easily slip by. I get paid to do what I love, and much of the credit for that goes to TAXI. They don't blow smoke, and they don't promise miracles. But they do keep you focused, on track, and energized about your music.

TAXI's expert feedback is priceless, and their free convention, the Road Rally, is worth more than the membership fee.

I Volunteered to Write This Ad!

There are tons of companies that imitate TAXI, but how many have you seen that can run ads like this? TAXI is the world's leading independent A&R company because it's the one that really works.

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1-800-458-2111 June 2014 June 2014

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DENNIS DREITH Date Signed: November 2014 Label: Perseverance Records Type of Music: Jazz/Fusion Management: Self/Magic Closet Music Booking: Self/Magic Closet Music, 818-943-0846 Legal: Brian Cella, Esq. - Cella, Lange & Cella, LLC, 925-974-1112 Publicity: NA Web: dennisdreith.com A&R: Robin Esterhammer

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ell known in the industry as an influential advocate for musicians’ rights, Dennis Dreith served as International President of the Recording Musicians’ Association (RMA) for 15 years and is currently Executive Director of AFM SAG-AFTRA’s Intellectual Property Rights Distribution Fund.

On the creative side, he has scored independent films and composed for TV and commercial jingles––but his bread and butter has long been his work as an orchestrator and conductor of top film scores (Jurassic Park, Braveheart, Sleepless in Seattle, The Addams Family). Dreith has provided services for everyone from John Williams and Lalo Schifrin to Marc Shaiman and Hans Zimmer.

Now, in his mid-60s, this multi-talent is emerging as a bandleader and recording artist, conducting an ensemble of session and touring musicians on his new recording dB Reunion, credited to the Dennis Dreith Band, released by Perseverance Records and distributed by MVD Entertainment Group.

Dreith explains, “I had been thinking about doing a reunion concert and a recording with musicians who played in my band during my formative years.” He gathered the 14-piece ensemble, performed at the Studio City jazz club Upstairs at Vitello’s and began recording the album’s seven original tracks at EastWest Studios in Hollywood.

Robin Esterhammer, founder of Perseverance Records, attended a

“It’s fun to make uncompromising jazz music for its own sake.” session and liked what he heard. Because of Perseverance’s renown as a soundtrack label, Dreith was reticent at first. He became excited, however, when he heard about the owner’s commitment to developing jazz artists and his distribution with MVD, an international company with a major foothold in Europe, where Dreith hopes to secure major dates for his ensemble.

“It’s fun to make uncompromising jazz music for its own sake,” Dreith says, “and we’re excited to see how people are connecting with it.”

- Jonathan Widran 26 April 2015

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KERCHIEF

Date Signed: February 2015 Label: 825 Records, Inc. Type of Music: Indie Rock Management: 825 Records, Inc. Booking: kerchiefmusic@gmail.com Legal: NA Publicity: 825 Records/Froductions Web: kerchiefmusic.com A&R: mattyamendola@825records.com

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urviving in today’s over-saturated industry is no easy feat. Having seven years experience touring with artists like Sick of Sarah and Taking Back Sunday, however, can help develop the skills necessary to succeed. At least that’s the plan set by indie-rocker Kerchief and 825 Records.

After a seven-year tenure as Vanity Theft’s guitarist/backup vocalist, Brittany Hill moved to Tennessee to begin a new career under the moniker Kerchief. “I started learning how to use recording software,” Hill explains.

“I picked up Ableton so I could learn how to produce my own EP.” After deciding to take her songwriting to the next level, Hill began searching for a session drummer. “I happened to stumble onto one of Matty [Amendola’s] profile pages. I asked him to do a couple tracks. He recorded three drum tracks and sent them back in less than a day. They sounded amazing.”

Amendola inquired about the artist’s goals for the newly completed tracks. “I told him I wasn’t sure yet and he said, ‘Let me produce it, you

“It’s important to just hit the road and get out there–make fans, meet new people, generate interest.” should come to New York. I think we’d work really well together.’” When the duo met in New York, they completed a 10-track album, Machine & Animals, in just seven days. Along with producing the LP, Amendola offered Kerchief an artist and development deal through his label, 825 Records. Hill gladly accepted.

“I knew that I needed someone on my team who got what I was trying to do and dug the style and could see the potential to help me take it to the next level,” Hill explains. “Matty had a master plan.” That master plan included Grammy-winning engineer Butch Jones (Talking Heads, Madonna) who worked closely with Kerchief and Amendola for the upcoming release. The label is also setting up a tour for Kerchief later this spring.

“I've definitely learned from bands like Sick of Sarah that it’s important to just hit the road and get out there—make fans, meet new people, generate interest. I love touring and am excited to hit the road again.”

Machines & Animals’ first single, “Milk & Honey,” dropped in March.

– Andy Mesecher

LOIS & THE LOVE

CAKED UP Date Signed: Jan. 9, 2015 Label: Dim Mak Band Members: Oscar Wylde; Vegas Banger.

Type of Music: Dance Management: Nate@WarpathGroup.com Booking: Hunter Williams, hunter.williams@caa.com Legal: Todd J. Mumford, TMumford@ReedSmith.com Publicity: Jaime Sloane - Dim Mak Web: wearecakedup.com A&R: Dim Mak, promos@dimmak.com

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s big fish within EDM’s remix scene, Oscar Wylde and Vegas Banger have released songs on numerous noteworthy labels, like Mad Decent, Buygore and Fool’s Gold. It is common within the genre to drop tunes everywhere, but there’s one label they’re proud to call home––Dim Mak. “Every artist I’ve loved has been on that label,” discloses Wylde. “[Label founder] Steve Aoki is why I got into music.”

Sharing the same booking agent as Dim Mak phenomenon, the Chainsmokers, they’d performed a couple shows together when the duo behind “#Selfie” asked Caked Up to craft their official remix. The resulting

“They treat their artists well and make sure you’re taken care of.” chart-topper naturally caused their relationship with Dim Mak to grow.

Aoki and Wylde began communicating via Twitter and exchanging tracks, making the union practically inevitable.

Although approached by other labels, Dim Mak was the obvious choice. “It’s a family,” explains Wylde. “They treat their artists well and make sure you’re taken care of. They’re looking at the big picture; they’re not just trying to make a quick buck.” Although they won’t get into specifics regarding their contract, there was plenty of post-ink celebration.

“They don’t tell you want to do,” Wylde continues. “They give you artistic freedom. You aren’t pressured to put something out to please a crowd.

They just want you to be yourself.”

Wylde cites perseverance, keeping up with style trends and releasing tracks when you want as keys to reaching the top in their quirky genre.

“And don’t pay attention to people’s bullshit,” he advises. “If people are coming at us, it means we’re doing something right.”

– Andy Kaufmann

Date Signed: June 19, 2014 Label: Yebo Music Band Members: Lois Winstone, lead vocals; Dean Sharp, guitar; Oli Longmore, bass; Eddie Banda, drums.

Type of Music: Indie Rock Management: David Bianchi, Various Artists Management Booking: Mike Hayes, ICM Partners Legal: Gavin Maude Publicity: Tasya Swisko, tasya@pressherepublicity.com Web: facebook.com/loisandthelove A&R: Ben Collins - Yebo Music

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he association of vocalist Lois Winstone and guitarist Dean Sharp dates back years, to when they were kids. In 2009 they reconnected on Facebook. “We talked about simply having a ‘jam,’” says Sharp. “It evolved into starting a band, which then turned into serious shit with some high-profile gigs, management and eventually a whole record deal and album scenario.”

Summer 2014 found them working on tracks that would become the group’s debut album, Love is Louder, with producer Youth (of Killing Joke). He was instrumental in bringing their amalgam of ‘90s grunge, electro pop, Krautrock and guitar heroism to the fore. While at Damon Albarn’s Studio 13 in the U.K., some of the tracks they were working on caught the ear of Yebo Music rep Ben Collins. One day Youth brought

“It’s a classic band signing tale, which doesn’t seem to happen anymore.” tracks home from one of their sessions to mix at his place. Collins happened to have a meeting with him that day and heard the music.

He inquired about it and found out the band had a show that very night at a place called Koko in Camden. The band put him on the guest list and he was floored by their performance. “Ben flew back to NYC the next morning with a copy of our demos in his hand,” says Sharp. “He immediately played it for the team at Yebo, who became excited about it from the word go. It was that prompt! It’s really kind of a classic band signing tale, which is quite romantic as it really doesn’t seem to happen like that anymore.”

“The Yebo deal itself was presented to us as an artist-friendly industryleading deal, unlike others out there at the moment,” continues the guitarist. “That was rather appealing to us too, knowing that our label isn’t out to screw us over. They are more about working with us closely and nurturing us as a band and as performers. It’s like they used to do in the old days with bands like R.E.M. and U2, bands that have all gone on to be gargantuan rock monsters and have stood the test of time.”

– Eric A. Harabadian April 2015

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ASCAP EXPO in Hollywood

SESAC’s Brunch with Bryan-Michael Cox SESAC sponsored the 11th Annual Bryan-Michael Cox Pre-Grammy Brunch at L.A.’s Four Seasons Hotel. The 2014 Brunch honored artist/actor/philanthropist/entrepreneur T.I., Jason Geter and Damon Dash for their many philanthropic activities and contributions to the entertainment world. Pictured (l-r): Dennis Lord of SESAC and Bryan-Michael Cox.

BMI in Blume on Music Row

It’s Like Baby, Baby, Baby Pro

CD Baby’s rights management service for songwriters—known as

Soundcheque Banks on L.A. Presence

The U.K.’s “fair trade” music company Soundcheque, has landed in Los Angeles to expand its roster of U.S.-based artists and clients.

The company extols its “fair trade” ethos and unrivalled standard of original and custom-made music across all genres. Soundcheque unites filmmakers with musicians around the world, and works with all budgets, from student documentaries to Hollywood features.

Soundcheque’s CEO, Laura Westcott, former reviewer for the London paper, The Times, founded the company a year ago after seeing a gap in the market for top quality film music at an affordable price. Laura is joined in Los Angeles by music supervisor and former KCRW Radio producer Gemma Dempsey, and industry expert Mark Lo, former executive music producer at Cutting Edge Group.

Music supervisor Cathi Black is the

FREDERICK BREEDON

BMI’s popular Songwriters’ Workshop Series in Nashville is held monthly under the tutelage of hit songwriter and best-selling author Jason Blume.

The next dates are April 14 and May 12. There is no fee, but registration is required. Follow up at bmi.com.

The initial 75-person lineup and programming for the 2015 ASCAP “I Create Music” EXPO, to be held April 30 through May 2 at the Loews Hollywood Hotel in Los Angeles, has been announced. Now in its 10th year, the ASCAP EXPO gives new music creators access to a world-class gathering of music talent for three days of panels and discussions dedicated to the craft and business of songwriting, composing and producing.

This year’s lineup includes current hitmakers like Savan Kotecha (Ariana Grande, Jessie J, One Direction, Maroon 5); Greg Kurstin (Kelly Clarkson, Ellie Goulding); Jesse Shatkin (Sia, Pink); Kevin Kadish (Meghan Trainor, Jason Mraz); Darrell Brown (LeAnn Rimes, Keith Urban); Da Internz (Nicki Minaj, John Legend, Rihanna); Ashley Gorley (Carrie Underwood, Brad Paisley); Sevyn Streeter (Alicia Keys, Ariana Grande, Chris Brown); and Kirby Lauryen (Rihanna, Kanye West, Paul McCartney). Also participating are indie favorites Andrew Bird, Ingrid Michaelson and Nick Thorburn (Islands, Serial); and artist/songwriters Bill Withers, Kevin Cronin (REO Speedwagon), Lou Gramm (Foreigner), Hanson, Goapele and many more.

Register at ascap.com/eventsawards/events/expo/2015/regis tration.aspx.

CD Baby Pro—reports a huge year of growth in 2014. The service now represents over 54,000 writers and administers over 246,000 songs.

CD Baby’s administered catalog grew by over 250% in 2014, after launching in February 2013.

CD Baby Pro is allowing its members to collect for the first time mechanical royalties from streaming services both in the U.S. and abroad. In addition, direct registration of songs with over 40 foreign societies has accelerated payment to members for performances in these territories by years in some cases, whereas relying on U.S. PROs alone would have taken much longer. See cdbaby.com.

Maddie & Tae Live it Up Pop Cautious Sampler Release MC was on hand at West Hollywood’s legendary Sunset Marquis Hotel to celebrate the release of a sampler from the new indie Americana/roots label, Pop Cautious Records. Pictured with the party-goers is the label’s founder and namesake, Pop Cautious, in front, holding the champagne glass, with the white shirt and epic beard. Check out popcautiousrecords.com.

28 April 2015

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Dot Records duo Maddie & Tae recently celebrated the success of their debut single, “Girl In A Country Song,” for reigning supreme on several charts. Pictured (l-r), (front row): Maddie & Tae with co-writer Aaron Scherz.

Pictured (l-r) (back row): Jody Williams, BMI; Mike Molinar, Big Machine Music’s VP Publishing; LeAnn Phelan, ASCAP; Dann Huff, producer; Scott Borchetta, Big Machine Label Group President & CEO and Chris Stacey, Dot Records General Manager.

– DAN KIMPEL dan@dankimpel.com

L.A. Soundcheque Rep. Find more details at Soundcheque.com.

Music Biz 2015 in Nashville

The Music Business Association (Music Biz) has announced a preliminary schedule for its flagship Music Biz 2015 conference, held for the first time in Nashville on May 12-14 at the Sheraton Downtown Hotel.

Martina McBride and Scott Borchetta will be honored during the awards luncheon on May 14.

The Doobie Brothers and Waterloo Records & Video Owner/President John T. Kunz will additionally be honored.

Key retailers, record labels, artists, managers, startups and more will be in attendance throughout the week. This year’s event will feature the third annual Metadata Summit, the Music Startup Academy educational sessions, and the Entertainment and Technology Law Program as well as various Special Interest Town Halls, Genre-Based Meetups, Breakout Sessions and Live Music Showcases.

Find out more by going to mu sicbiz2015.com.

Fifth Harmony Enlists Hit Songwriters

Former X Factor contestants Fifth Harmony have released their debut studio album Reflection via Epic Records. The track “Like Mariah” features Tyga, was co-written and produced by J.R. Rotem and also co-written by Raja Kumari.

Winners of MTV’s “Artist To Watch” award at the 2014 VMA’s, and labeled as the “#1 most influential X Factor contestant of all time” by Fox, Fifth Harmony collaborated with some of music’s most successful songwriters and producers. “Like Mariah” is the first collaboration between Rotem, Kumari and Fifth Harmony. You can get additional information at fifthharmonyoffical.com.

Wockner Tops at IAMA

Carl Wockner became the first Australian to ever win the top award at IAMA (International Acoustic Music Awards). With his latest International Acoustic Music Awards top award win, and a 2014 ARIA (Grammy equivalent) nomination for the release of his new album Crayon Days with producer Michael Flanders in Nashville, TN, Wockner has scaled the charts with his first two single releases receiving high rotation to national radio in both Australia and the U.S. More details at inacoustic.com.

Kobalt Gets the Big Bucks

Kobalt has announced it has raised a $60 million Series C funding round with Google Ventures, MSD Capital, L.P., the private investment firm for Michael S. Dell and his family, which is a current Kobalt investor, and MSDC Management, L.P. This financing round adds to the $66 million already raised by the company.

The new funding will be used to develop and scale Kobalt’s suite of technology solutions that efficiently collect and report music royalties.

The company's roster includes Beck, Dr. Luke, Foo Fighters, Kelly Clarkson, Maroon 5, Max Martin, Paul McCartney, Pitbull, Ryan Tedder, Sam Smith, Skrillex and others. Kobalt offers its clients a variety of services, including creative services, synch & brand partnerships, global licensing management, neighboring rights, works and rights distribution, royalty collection and processing, online data and royalty statements, record release management, and digital marketing and monetization. See Kobaltmusic.com.

Estelle Builds with Empire Grammy-winning artist Estelle’s song “Conqueror” has skyrocketed after her special duet version aired during a recent episode of FOX’s Empire. Performed

by Estelle (who guest starred as Delphine, the newest artist to sign with Empire Entertainment) and Jussie Smollett (who plays Jamal), “Conqueror” is the highest-charting song from the series to date. Pictured (l-r): Estelle and Smollett.

Elizabeth Matthews ASCAP CEO Elizabeth Matthews has been named the new Chief Executive Officer of ASCAP, which now represents more than 520,000 music creators.

Matthews, who has served as Executive Vice President and General Counsel at ASCAP since 2013, was a unanimous choice among the Board’s 12 writer and 12 publisher members.

DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.

BMI Names Ann Sweeney Broadcast Music, Inc. (BMI) has announced that Ann Sweeney has been named Senior Vice President of Global Policy, effective immediately. She reports to Mike O’Neill, President and CEO, BMI, and is based in BMI’s New York office.

BMG’s Global Hits BMG’s Los Angeles offices were the location for a networking party following the International Writer Services Conference. The event showcased the reach of BMG’s international writer services, which has translated into chart hits around the globe. Pictured (l-r): Nigel Rush, manager; Robin Godfrey-Cass, manager; Thomas Scherer, EVP BMG Global/Writer Services BMG Chrysalis U.S.; Zach Katz, Chief Creative Officer BMG Chrysalis North America; Sacha Skarbek, songwriter; and Kate Sweetsur, VP Creative BMG U.K. April 2015

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John Moreland Songs from Oklahoma, Sons of Anarchy

By Dan Kimpel

F

rom Woody Guthrie through Jimmy Webb, the state of Oklahoma has provided American music with an impressive roster of influential songwriters. Add 29-year-old singer/songwriter John Moreland to this list.

On this morning, Moreland is recovering from what he recalls was a rough night out cheering on some musician friends at the local club. The songwriter speaks with a frankness that mirrors his spare lyrical approach as he speculates that the wealth of Oklahoma songwriters could be partly due to its geography. “Maybe that songwriting tradition from Texas bleeds up to Oklahoma. There is this generation of people now in their 20s that are looking back to guys like Bob Childers and the Red Dirt Rangers and Jimmy LaFave who were doing it in the ‘80s. There has always been this Oklahoma-Austin connection.”

Prior to his acoustic career Moreland played in hardcore bands and became a songwriter by default. “Everything in that genre is so riff based that it takes a guitar player to come up with it.

There’s not a lot of melody vocally.”

Language, he says, is what made him change his focus. “The way a song can hit you if you understand what’s being said. Not that there’s no validity to just screaming things at people, but a song can have a different kind of emotional impact if it has a melody.”

In his songs, Moreland draws a sharp bead on people, places and small towns. “There’s something about tying music together with geography. I remember talking to my sister when I was a teenager about punk rock, these bands and where they were from. She said, ‘It’s really weird that you know where every band is from.’ I don’t think most people care. It’s always been interesting to me.”

Three of Moreland’s songs were utilized to add musical atmosphere to the FX biker drama Sons of Anarchy. He acknowledges that because his lyrics are so specific, this makes them difficult to pair with the visual medium. “I always figured I would have a hard time getting on TV for that reason, but Sons of Anarchy is the only show that has shown interest, so maybe I was right. I was just glad they would have anything to do with me.”

Moreland is set to release his latest full-length project, High On Tulsa Heat, on the indie Thirty Tigers. The project was recorded in his parents’ house. “They were going out of town for a couple of weeks. I called a couple of buddies and said, ‘Let’s go up to Tulsa and record.’ They have this real big living room where we did the drums; the main thing was I couldn’t record in my house in Norman because I’m pretty sure my neighbors would have called the cops. It was done on a day’s notice; a record made on a whim.” For audio quality control, Moreland prefers to listen in the car. “When I’m mixing, that’s my gold standard test because the car stereo test is extremely average.”

If Moreland’s recording process seems slapdash, his songwriting is anything but. He adheres to the process of an extensive rewriting regime, sanding down his lyrics to their essential core. “I will generally write a whole lot, then edit what I want to take out. And I’m usually left with lyrics that I like.” Leaving a song open to interpretation, even by its creator, Moreland continues, is an indispensable part of his songwriting awareness. “I don’t want to limit people’s perceptions. I don’t know enough of what it’s about to be specific. The goal is to channel something from your subconscious.

Maybe after I play a song 100 times, then I will know what it means.”

The modest songsmith reaps effusive praise from Americana journals and media pundits. His live shows attract a multi-generational following and he tours regularly. Although his latest collection reveals the deepest issues of life, love, home and heart, he maintains humble aspirations. “I just want keep doing what I’m doing. I’m still in disbelief that I get to make up songs and play music and not have a really shitty job that I hate.”

Contact Donica Christensen, All Eyes Media, LLC, 615-227-2770, donica@alleyesemedia.com

30 April 2015

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49 49 musicconnection.com 51 musicconnection.com 47 31

DROPS

Rockin’ teen duo V2 (pronounced V Squared) have been racking up accomplishments and accolades the past few months, not only blowing away the crowd at the Los Angeles Music Awards (a clip has received over one million views on YouTube: youtube.com/ watch?v=4V8avNQ0v2E), but the young band (brothers Vittorio and Vincenzo) have been starring in a 30-minute documentary airing on MTV’s Palladia Network, titled V2 Behind the Scenes: The Making of 11 Year Old Rock Superstars. The duo’s debut album, produced

by Ron Nevison (the Who, KISS, Heart), was released Feb. 24 (itunes.vsquared.rocks). Their second Nevision-produced record, titled Pass the Rock N Roll Torch, has been completed and is slated for release this fall. For further information about the band, see VSquared.rocks.

GUITAR HEROES On May 5, Stony Plain Records will release Guitar Heroes, a live recording on both CD and vinyl that teams acclaimed guitar masters James Burton, Albert Lee, Amos Garrett and David Wilcox, who have shaped the sound of popular music since the 1950s. The LP version will be pressed on 180-gram vinyl and also include a card enabling purchasers to download the full 11 tracks on the CD edition. These four telecaster players are captured during a one-time special performance at the Vancouver Island MusicFest on July 12, 2013. Members of Albert Lee’s regular touring band backed the players at this show, including Jon Greathouse (keyboards/lead vocals), Will MacGregor (bass) and Jason Harrison Smith (drums/ background vocals). Contact Mark Pucci at MPMedia@Bellsouth.net.

Universal Music Enterprises has announced a rollout of 26 individual soundtrack albums on vinyl––including John Williams’ scores to E.T. and Jaws; Blaxploitation classics like

V2 Willie Hutch’s The Mack, J.J. Johnson’s Willie Dynamite, Marvin Gaye’s Trouble Man and the hip-hop-flavored Juice. Other releases include Oscar winners such as The Godfather, Silence of the Lambs, Rocky and Good Will Hunting, and cult movies like Paul Thomas Anderson’s Boogie Knights, John Landis’ Animal House, Tim Burton’s Beetlejuice, Amy Heckerling’s Clueless and Spike Lee’s Do the Right Thing. Among the most recent to drop are the Coen brothers’ 2002 Grammy-winning Album of the Year soundtrack to O Brother, Where Art Thou? and the vinyl release for Boogie Nights is coming up in April. Contact Keren.Poznansky@UMusic.com On April 3, Sony Pictures Classics releases Lambert and Stamp, a documentary that

delves deep into the Who’s formative years.

It distills the story of Chris Stamp and Kit Lambert, two filmmakers who set out to shoot a documentary on Who precursors, the High Numbers. As they stepped into the role of comanagers, the pair found themselves on a path that would alter their lives and the course of rock indelibly. Intimate recollections from Who brethren Stamp, Daltrey and Townshend are weaved throughout the film, which is filled with archival footage. Contact Ekta Farrar at EFarrar@BK-PR.com.

Eagle Rock Entertainment has released the Live At Knebworth concert film on SD Blu-ray. Filmed in 1990 at the Knebworth House in Hertsfordshire, this benefit concert for Nordoff-Robbins Music Therapy and The Brit School For Performing Arts featured an all-star line-up, comprising legends who all previously received the Nordoff-Robbins Silver Clef Award: Paul McCartney, Eric Clapton, Pink Floyd, Robert Plant, Elton John, Phil Collins, Genesis, Dire Straits, Tears For Fears, Cliff Richard & The Shadows, and Status Quo. See why this show has been called “The Best British Concert of All Time.” Contact Carol Kaye at Carol@Kayosproductions.com.

OPPS

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A Los Angeles-based group is launching an online platform in May similar to Hulu and seeks existing completed projects for distribution. Projects can include short- and long-form content, TV series and films. Visit LosAngeles.Craigslist. org/wst/tfr/4920469666.html for details.

– JESSICA PACE j.marie.pace@gmail.com A production company in Los Angeles needs a commissioned composer to write music for two short songs––about a minute each––for an original, fantasy production. The lyrics are written and can be received by requesting them upon submitting an application. The composer should draw from the late ’20s and ’30s for inspiration.

Apply with links to previous work at LosAngeles. craigslist.org/lac/tfr/4917589441.html.

Complex Media of New York wants a director/ shooter/editor to fill a full-time position. The company produces content for young male tastemakers and its network consists of more than 120 sites that generate over one billion page views and 100 million unique visitors each month. Complex TV is the company’s newest platform for originally produced series, co-productions and other content. Applicants should be experienced in digital production and able to create short form video content including branded content and music videos. Visit tinyurl. com/ohwf8ca for details.

PROPS

GoPro, Inc., enabler of some of today's most engaging content, announced the launch of the Done in One campaign, offering musicians an opportunity to capture their best GoPro musical moment in one take. The ongoing multi-tiered national campaign is co-presented by Guitar Center and GoPro. Contestants will submit their best raw GoPro music clip for a chance to win career supporting prize packages from Guitar Center, GoPro and participating musical instrument partners. The ultimate grand prize includes $20,000 in cash and gear from GoPro, $5,000 to spend at Guitar Center and over $40,000 worth of gear from top music instrument partners. For complete details, visit tinyurl.com/q63vory to BLUNT TALK enter, or contact Kelly Baker at KBaker@Go Pro.com for details.

Musician and actor Moby is just one of many prominent names to make an appearance in the STARZ original series Blunt Talk. STARZ has cast several recurring and guest roles for the first season of the half-hour scripted comedy series from MRC and executive produced by Seth MacFarlane, Jonathan Ames, Tristram For exclusive video interviews with the likes of Art LaBoe, Simon Napier-Bell and John Carpenter, check out MC’s Blogs area at musicconnection.com/mcblogs!

Out Take

Shapeero and Stephanie Davis. Ed Begley Jr. of Arrested Development, Mary Holland of Parks and Recreation, Soni of Safety Not Guaranteed and Romany Malco of Think Like a Man have been cast in recurring roles on the series. For more information, contact Abbie Harrison at AbbieH@FerrenComm.com and visit tinyurl.com/poqcxkb for a video teaser.

On a program that also included immortal Russian composer Tchaikovsky’s Symphony No. 6, “Pathétique,” eight-time Academy Awardnominated film composer James Newton Howard had his first symphonycommissioned work, “I Would Plant a Tree,” performed by the Pacific Symphony.

The performance, featuring Grammy-winning violinist James Ehnes, was recorded live for a CD release.

Congratulations are in order for music producer Jerry Goldstein. Recently a Los Angeles Superior Court decision paved the way for him to release The Last Experience, never-beforeseen Jimi Hendrix concert footage, behind-thescenes views and unique insight into the life of legendary artist, filmed on his final European 1969 concert tour.

Says Goldstein about the judgment, “I'm pleased with the outcome, and now I can move forward with the worldwide release of this amazing movie, which Jimi and I planned on distributing over 45 years ago.”

He adds, “Our current plan is to release the movie in IMAX 3D, so that people can truly experience the power and impact of Jimi Hendrix, as if they were there in person. We see this as a great opportunity for fans around the globe to relive the greatest performance that he ever filmed and recorded.”

The Last Experience primarily captures a day in the life of the legendary guitarist centered around the fabled Feb. 24, 1969 performance at Royal Albert Hall in London.

The film was produced and recorded by Goldstein and the late Steve Gold with the intention of assembling and distributing a motion picture around the performance. Hendrix died on Sept. 18, 1970 at age 27.

For additional details about this film project, contact Sandy Friedman, sfriedman@rogers andcowan.com.

JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie. pace@gmail.com.

Jeff Parry Promoter

Contact: Jeff@annerin.com Web: Annerin.com Most recent: Let It Be IN FEBRUARY, the Annerin Productionsproduced concert Let It Be launched its first North American tour (apart from a successful 2010 run on Broadway) with a string of dates through Canada and the U.S. A musical tribute to the Beatles, Let It Be went worldwide in just over two years with performances in Russia, Japan, the U.K., Singapore, France, Germany, Switzerland and New Zealand.

The show’s producer, Jeff Parry of Annerin Productions, started out working on oil rigs in small-town Alberta to make money before falling into promoting.

“Put your head between your legs and kiss your ass goodbye” is the sage advice that Parry imparts to anyone contemplating theater promotion as a profession. Parry has been one for 35 years and has experienced some of the most trying hurdles in the game––including a 2013 lawsuit filed by the creators of the Beatles tribute show Rain, which had a run on Broadway in 2010 and 2011. The suit accused Let it Be of ripping off Rain, but was ultimately dismissed.

Let it Be launched in fall 2012, 50 years after the Beatles released their first single, “Love Me Do,” in 1962. It was introduced on London’s West End in September. The production features more than 20 of the Fab Four’s greatest hits, traces the group’s rise from Liverpool’s Cavern Club to Beatlemania to the end of the road.

“Don’t be in love with the shows you’re promoting,” Parry warns, despite the fact that he was made a Beatles fan at a very young age, and now produces the only show featuring their music that has played London’s West End and Broadway. “I didn’t want anything to do with this [show], but it was inevitable.”

By way of advice to aspiring musical theater producers, Parry says: “Most don’t have the stomach for it. There’s a saying: if you can take $25,000 in cash, put it on the driveway, douse it in kerosene, light it on fire and watch it burn, you can probably be a promoter.”

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Hall & Oates & Stern Rock & Roll Hall of Famers Hall & Oates made their first appearance together on Sirius XM’s The Howard Stern Show in New York where they played some tunes and discussed the key moments of their enduring career. The duo were promoting their new Blu-ray video release, Live from Dublin. Pictured (l-r): Manager Jonathan Wolfson, Daryl Hall, Howard Stern, John Oates.

20 Years and Counting

WOLFSON ENTERTAINMENT

Two decades after forming in 1995, Larry “Fuzzy” Knight and the Blowin’ Smoke Rhythm & Blues Revue are still going strong, entertaining audiences at festivals and better nightclubs throughout Southern California, often accompanied onstage by renowned guest musicians. The band recently announced the addition of a new member to the Blowin’ Smoke lineup, Don Preston. For more information, visit blowinsmokeband.com.

Common Wins Best Original Song

BRIAN STEWART

The Society Of Composers and Lyricists’ Oscar reception at La Boheme in Hollywood, CA was jam-packed with stars, nominees and people who make it happen behind the curtain. Pictured (l-r): Oscar-winner for Best Original Song, Common; Shari Hoffman, Director, Domestic and International Operations, AFM & SAG-AFTRA IRPD Fund; and Terry O’Neill, Research Analyst, SAG & AFTRA IRPD Fund.

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Memphis Native Wins Guitar Center Grand Finals

ALEX KLUFT

Bob Seger played a near-sold out show at the Los Angeles Forum. At 69, Seger continues to rock arenas and entertain audiences nationwide. He was touring in support of his latest release, Ride Out, on Capitol Records, which is his first release in eight years and second release in 19 years. For additional info, visit bobseger.com.

GUITAR CENTER

Seger Rides Out on Tour

Lanita Smith is the winner of the Guitar Center Singer/Songwriter artist discovery program and will receive prizes including a Casio Privia digital piano.

As the winner, Smith will also receive the opportunity to record a four-song EP with Grammy Award-winning producer Don Was, mentorship from Grammy Award-winning singer/songwriter Colbie Caillat, a performance on Jimmy Kimmel Live!, $25,000 cash, new music equipment and more. To view her performance, visit youtu.be/E4pQnTIsAxk.

– SIRI SVAY siri@musicconnection.com

SIRI SVAY

Tidbits From Our Tattered Past

1983–X, Lee Ving–#11 MC Power Networks at SXSW At this year’s SXSW festival, Music Connection organized a standing-room-only panel, moderated by music attorney Glenn Litwak, on Power Networking in the Music Business featuring Emily White, Whitesmith Entertainment & Dreamfuel; Qiana Conley, cue the creatives; and Allison Shaw, incroud. In addition, MC sent a three-person crew to photograph, record and interview musicians, including Years & Years, Plain White T’s, Smallpools, Cody Simpson, GRiZ and Holly Elle.

Pictured (l-r): White, Shaw, Litwak and Conley. For more coverage, visit musicconnection.com.

Christmas in Spring The four-time Grammy-winning, 20-time nominated Gordon Goodwin’s Big Phat Band—which won Best Large Jazz Ensemble Album for Life in the Bubble—gathered at Capitol Records’ historic Studio A the first week of 2015 to record a currently untitled upcoming Christmas album.

Pictured is Goodwin (center) surrounded by his high-energy crew.

Raindrops Keep Fallin’ Continuing its tradition of hosting talks and performances from both contemporary hit-makers and legends, The Grammy Museum hosted “An Evening with B.J. Thomas,” celebrating the five-time Grammywinning singer’s legacy.

After a spirited Q&A session with Grammy Foundation VP Scott Goldman, Thomas engaged in an acoustic set of his best-loved hits, including a surprise duet with singer and longtime friend Steve Tyrell.

Punks Exene Cervenka from X and the volatile Lee Ving of Fear were branching out into writing poetry and film acting, respectively, when Ving (Flashdance and Streets of Fire), who’s sometimes known as the former Don Rickles of punk, told MC: “[A friend] once told me that actors who are typecast as psychotics never starve, so I took that to heart.”

1990–Clint Black–#6 Black was a country music newcomer enjoying the platinum success of his debut, Killin’ Time, when he stated to MC: “There’s a lot of people always looking for record deals. That’s going about it backwards.

First, you have to find a manager.” Also in this issue are profiles of the Meat Puppets, UB 40, producer Russ Titelman and songwriter Steve Diamond and newly signed band Shotgun Messiah.

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THE TERM “BROTHERHOOD” SIGNIFIES a special relationship, a friendship like no other, built out of respect and love, where friends will always have each other’s back.

That is the bond described by Alex Gaskarth of pop-punk band All Time Low. Since the very beginning, starting as a garage band from Towson, MD—a Baltimore suburb—the four band members have stuck together for over a decade, living their dreams, making music and traveling the world.

In that time the Warped Tour veterans have accumulated 120 million combined views from their music videos and have hit No. 1 with multiple albums on Billboard’s Rock and Alternative Albums charts. Even with such accomplishments, the quartet isn’t looking to slow down, and have their sights set on adding to the list with their sixth studio album, Future Hearts.

Before he embarked on a tour of Europe, frontman Gaskarth spoke candidly with Music Connection. In the following interview he unravels the facts on the band’s hands-on approach to their career and unapologetically reckless image, life on tour and their upcoming Hopeless Records album, due out April 7.

Music Connection: We still have a poster of All Time Low in our office from the Nothing Personal era. It’s inscribed to our Senior Editor Mark Nardone and it says, “Hey Mark, Fuck You! –Nothing Personal.” That was, shall we say, a unique tactic to try to ingratiate yourselves to a magazine staff and it depicts you guys perfectly: you’re fun and not afraid to express yourself. Do you work with a team to build your image that way?

Alex Gaskarth: No. [laughs] Absolutely not. We just have fun with what we do. The interpretation that we branded ourselves that way is happenstance. We kinda don’t take ourselves seriously. I think we’re very lucky to do what we do. We take full advantage of the fact that we get away with having a very interesting career. I think that’s a big part of what’s defined this band. We always try to keep it fun, keep it lighthearted.

music account on Myspace—years ago when that stuff first launched. From there, it’s obviously evolved into Facebook, Twitter, all those things. We really love Twitter because you get to choose what you put out there, and it’s sort of a direct line to the fans, which is amazing.

I love the fact that we can share any aspect of our day, our tour or our lives, and you can interact back and forth. I think that’s helped our band grow and maintain a grassroots following throughout our career.

MC: Has social media been a key resource in your career?

Gaskarth: It’s certainly been one of our biggest forms for reaching out. Like I said, from the days of Myspace and PureVolume to Twitter, Tumblr, Facebook and all those things we use now to communicate with our fanbase and followers— we rely on them. It’s how we promote our tours, promote our videos, promote our music. It’s how everybody finds out about us really.

really helped us sustain our career for however long it’s been so far.

MC: Because you are so hands-on, how do you balance the artist life with normal life? Or do they blur together into one entity?

Gaskarth: It is sort of a blur. There are definitely aspects that are nice to step away from every now and then and not worry about or not think about. But for the most part, one isn’t superinvasive with another. Since we’ve grown up this way, it’s become so natural for us—this is our life. It’s not like having these two ideologies competing with each other: being in a band or trying to be normal. Being in a band is normal for us.

MC: Another way to connect with fans is through live shows. You guys have been touring since your last album, Don’t Panic, in 2012.

How does touring play an important role in your career right now?

MC: You guys are pretty good at doing everything yourselves!

Gaskarth: [laughs] We have an awesome team behind us. We have a really great partnership with our label. The cool thing about the way this band is developed is that we are very hands-on. We really have a lot of control over our brand and over our music and what we do. That has

MC: How do you utilize social media to spread the fun to your fans?

Gaskarth: Social media has been a big thing for us. We were one of the first bands on PureVolume and one of the first bands to have a

Pictured (l-r): Jack Barakat, Zack Merrick, Alex Gaskarth, Rian Dawson

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Gaskarth: Touring has probably been one of the bigger aspects of All Time Low. Pretty much since we started––officially as a signed band in 2003––we’ve been on the road a majority of the time. So touring has been 75 percent of what makes our band. We live on the road, we live on tour, and it’s really helped grow us because we haven’t always had television, radio or whatever it may be—those other markets that help you get into the mainstream. When we started, we used being on the road to promote ourselves through word of mouth—that’s what it’s really been all about––so touring has been a massive thing for us.

MC: You guys definitely get rowdy onstage.

[Guitarist] Jack always has a mountain of bras hanging from his microphone stand, and you had pink hair at one point during Warped Tour.

What makes a good live show?

Gaskarth: I’ve always been about performance and the aspect of interaction between band and

audience. Some bands use theatricality, some bands just go out there and play their songs, but it’s always important to us to add to the experience. If I wanted to hear a band play their songs perfectly, I would just listen to the CD. A big thing for our mindset has always been, “Hey let’s play our songs, but we’re here in this room with all these people, let’s make it an experience.” It’s always been about interaction with the crowd and making it something more than just hearing a band play their music.

MC: Since you’re on tour a lot, do you work on music while you’re on the road?

Gaskarth: A little bit. I don’t do too much writing on the road. I find it’s very hard. There are a lot of distractions when you’re on the road. We always have a million things going on every day. Finding time to write and write well is hard.

I’ll try to throw down ideas if they come up.

Inspiration’s a weird thing like that––kinda pops out of nowhere. You have to be able to work whenever, but at the same time, we’ve always embraced our down time and the time off to work, to be our creative outlet.

MC: So you’re more of the type to buckle down and set aside time for writing.

Gaskarth: We prefer to do it that way, just to clear our heads of distractions and focus on being creative. We’ve always handled it that way.

MC: Where do you draw inspiration from?

Gaskarth: All over. Our songwriting is always

very honest, very personal. Sometimes we draw inspiration from other things we’re seeing: books, movies, anything like that. But for the most part it all comes from our life experiences and stuff that’s going on in our lives all the time.

MC: You wrote for 5 Seconds of Summer’s album. Is the songwriting process different when working with or for another artist?

Gaskarth: Yeah, I’d say so. When I write for another artist, I get inside their head a little bit and try to write from their perspective. How would this person say “this?” Approach it from a little different angle.

It kinda depends. If I’ve written a song on the side and I didn’t get to be in the room with the artist or the band, that’s a little bit different—‘cause then I’m just guessing and hoping that it’s a good fit. But if I actually have the chance to sit down and work with another artist, then yeah, it’s a different approach ‘cause I try to embrace where they’re coming from and write with their voice.

MC: How do songwriting opportunities like those come about? Does the other band approach you or do you approach them? How do you get those gigs?

Gaskarth: With 5 Seconds of Summer, it was serendipitous almost. They were working with a friend of mine, John Feldman, who produced our newest record. He was working with them on their new album. While writing, he asked them who some of their favorite bands were, and they got into this style of music through All Time Low. So they asked John if we could work together, and John built the bridge that connected us. We sat down together and wrote a bunch of songs. It was awesome.

MC: John Feldman worked with you on your upcoming album, Future Hearts, and also on a previous one, Dirty Work. How did the band decide to bring him back for the next album?

Gaskarth: It had a lot to do with the fact that we didn’t get to fully work on a project together.

We worked on 5 Seconds of Summer, we had written some songs for All Time Low in the past. It came down to us looking for a producer, and he was available. It just felt right. John’s a

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r All Time Low has released 18 music videos. r “Toxic Valentine” is a song by All Time Low featured on the Jennifer’s Body soundtrack in 2009. r The band released a documentary, titled Straight to DVD, in 2010, which also featured a live album of the New York show from the 2009 Glamour Kills Tour. r The band has performed live on MTV, Jimmy Kimmel Live and The Tonight Show with Conan O’Brien.

great guy and we had done good work together already, so it felt like the right time to bring him onboard for a majority of the project.

MC: How does Future Hearts compare stylistically to your past albums?

Gaskarth: It definitely feels like growth—it’s an expansion. When we wrote and recorded Don’t Panic, it felt like a fresh start for us. So I equate that to being the new phase of All Time Low, and then [Future Hearts] feels like the next step in that new process. We tried some new things, we’ve got some new sounds, but it’s still the All Time Low that people expect and hopefully love.

MC: Most artists want to maintain their sound to cater to their fans, but can experimenting be beneficial as well?

r In 2013, Gaskarth and Barakat hosted a podcast titled, Full Frontal, on idobi Radio. It featured content about music, pop culture, relationship advice and more. r Singles “Dear Maria, Count Me In” and “Weightless” have been certified Gold in the U.S. r Gaskarth wrote “Kiss Me, Kiss Me” for 5 Seconds of Summer’s self-titled hit album. r Future Hearts will feature Mark Hoppus of Blink-182 and Joel Madden of Good Charlotte.

Gaskarth: Absolutely. With every record, every session and every creative process you have to push yourself and go beyond what you did last time. I don’t think it’s ever good to write the same thing over and over and over again. At the same time, for All Time Low, we’ve never wanted to alienate our fan base or throw such a curveball that suddenly we’re not the same band anymore. Some of my favorite bands have done that in the past, and it’s always been disappointing to me personally. We try to avoid that as much as we can but still push things forward at the same time.

MC: You released the new album’s first single, “Something’s Gotta Give,” along with a music video. Is the song representative of the sound for Future Hearts?

Gaskarth: Yeah, “Something’s Gotta Give” was the right first single because we felt that it bridges the gap between Don’t Panic and the new album. It’s not the most obscure or the weirdest song on the record, but it’s also one that we thought was acceptable, fun and catchy. We felt it was a great way to start things off and was definitely representative of what’s to come.

MC: The album is going to be released by indie label Hopeless Records, who you’ve returned to after a stint with a major label. Tell us about your relationship with them. Does Hopeless provide tour support, promotions…?

Gaskarth: As a band, from a business standpoint, we have never taken tour support. Tour support is one of those things that you’re really just putting yourself into more debt. Most label situations from the business side of things— when you take tour support contractually—you usually have to pay that back from your record sales. We’ve never done that. We’ve financed everything ourselves and been pretty self-contained. That’s how we do things.

But Hopeless has been an amazing partner to have––all the way through. They signed us in 2006 originally, and we were with them for several years. Then we had a brief partnership with Interscope Records for one record, which didn’t quite work out. We parted ways with Interscope and re-signed with Hopeless on a slightly different deal structure, and it’s been awesome.

MC: How different was it being with a major as opposed to an independent?

Gaskarth: It’s big business. You go from knowing everyone on the staff at Hopeless to having a team at Interscope, but there’s a lot of unfamiliar faces there and people that you don’t

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The 11th annual MUSEXPO kicks off April 26 – 29, 2015 at the Hollywood Roosevelt Hotel. It's your chance to build your global network for creative and business opportunties. Over 50+ music supervisors and brands confirmed for the 6th annual Global Synch & Brands Summit at MUSEXPO (over 1,000+ synchs have been procured out of the MUSEXPO event in recent years). More than 60 A&R's including your chance to share your future global hits at the A&R EXPO portion of MUSEXPO, dozens of festival promoters/agents from around the globe looking to secure great new talent and so much more at the world's most-focused, qualitative and boutique independent music conference and showcase event.

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For a full list of the inspiring speakers at MUSEXPO and to check out the MUSEXPO 2015 showcasing talent, visit: W W W . M U S E X P O . N E T

38 April 2015

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know at all times. For us, it wasnâ&#x20AC;&#x2122;t the right fit because we work better with a small team and with people we have a relationship with and can manage ourselves and our team cohesively and coherently. It was a little more difficult to do that with Interscope.

Itâ&#x20AC;&#x2122;s a much different world once you go with a major label. Youâ&#x20AC;&#x2122;re usually working with a bigger budget and more money, which is a nice thing. But at the same time itâ&#x20AC;&#x2122;s a lot less personable and a lot less finessed.

MC: You guys also work with Glamour Kills clothing. How did you establish that relationship?

Gaskarth: Glamour Kills has been a brand that we [associated with] from the start. They were running out of the New York/New Jersey area and were always at the shows promoting their line. It became one of those situations where we partnered up at an early point in both of our careers. They were a fledgling clothing company, and we were a young band.

I always love partnerships between brands and bands when itâ&#x20AC;&#x2122;s done right. I think back to Blink-182 with Hurley and Atticus. We took a note from that and branded ourselves around this clothing line. The cool thing about music is that it influences more than just music. Music has a lifestyle brand around it, depending on what kind of music it is. With fashion, it was one more way to influence the culture that was built around our music.

playing in Rianâ&#x20AC;&#x2122;s parentsâ&#x20AC;&#x2122; basement. Just doing it for fun. It was never initially something that we ever saw becoming a career necessarily. We started playing shows and got a little bit better, and then we started using social media, branching out, talking to bands from nearby states, trading shows with them, getting out there and playing more and more along the East Coast.

That extended as far as we could take it.

It was kind of a difficult thing balancing that with school. It was weird because all of our friends were going to do the college visits, and we were meeting with record labels and playing showcases. Itâ&#x20AC;&#x2122;s a different way to grow up, but it was definitely fun. At a certain point, we realized that we actually may have a shot at making [music] a career, and when we realized that, we thought, â&#x20AC;&#x153;Okay itâ&#x20AC;&#x2122;s now or never. We have to take that leap of faith; otherwise itâ&#x20AC;&#x2122;s gonna go away.â&#x20AC;? We decided to take that leap and so farâ&#x20AC;&#x201D;knock on woodâ&#x20AC;&#x201D;itâ&#x20AC;&#x2122;s worked out for us.

MC: The band has been together for 10 years.

Most bands switch out members or, unfortunately, break up before they make it big. What is the key to your success?

Gaskarth: I donâ&#x20AC;&#x2122;t know what the secret is. I canâ&#x20AC;&#x2122;t speak about what we did differently from other bands. A big thing for us is that weâ&#x20AC;&#x2122;re family. We treat this thing like family. The four of us are brothers. You donâ&#x20AC;&#x2122;t turn your back on family. We have times where we struggle, but we work through it and work it out. There isnâ&#x20AC;&#x2122;t any rivalry or bitterness, which might drive most bands apart. Quitting has never been an option.

We just think, â&#x20AC;&#x153;Whatâ&#x20AC;&#x2122;s the next goal? How are we gonna get there? Letâ&#x20AC;&#x2122;s keep our heads down and do this.â&#x20AC;? Thatâ&#x20AC;&#x2122;s what kept us really close, and we have each otherâ&#x20AC;&#x2122;s backs. Like I said, itâ&#x20AC;&#x2122;s a very family mentality.

Contact manager Keith Lazorchak, keith@pmmla.com

MC: All Time Low started a trend there with Glamour Killsâ&#x20AC;&#x201D;other bands are taking partnerships with them too.

Gaskarth: Glamour Kills has done really well.

Theyâ&#x20AC;&#x2122;ve thrived. Theyâ&#x20AC;&#x2122;ve embraced the scene we created together. Thatâ&#x20AC;&#x2122;s been an amazing thing. Itâ&#x20AC;&#x2122;s helped out a lot of bands, and the bands continue to help build it as a brand. Now [Glamour Kills] have their own tour every year, they have shows that they do, all kinds of cool stuff going on.

MC: Do you have any other endorsements?

With instruments or music gear?

Gaskarth: I work with Fender on my guitars now. Zack, our bass player, also works with Fender. Jack has been working with ESP for his guitars. Rian plays SJC drums, which is an awesome drum companyâ&#x20AC;&#x201C;â&#x20AC;&#x201C;Rian has been with them for years.

You find the people who you like working with and you partner up, and it becomes beneficial for everyone. Fender has been great to us, and they take care of our needs and always make sure we have rippinâ&#x20AC;&#x2122; guitars for tour. If things break, they get right on it. Thatâ&#x20AC;&#x2122;s the most valuable thing for usâ&#x20AC;&#x201C;â&#x20AC;&#x201C;people who have our back.

MC: How did All Time Low originally get in touch with those companies?

Gaskarth: I donâ&#x20AC;&#x2122;t specifically know. [laughs] You just fall into these situations where you meet people from the company. Originally, I think, Zack was playing Fender basses before we had a sponsorship. As our band got a little bit bigger, our current Fender rep, Billy, noticed and reached out and said, â&#x20AC;&#x153;Hey man, thanks for playing our guitars. If you ever wanna work together, we can work something out.â&#x20AC;? It grew from there.

Similar situation with SJC. Rian met the guy who started the company and they started talking and it snowballed.

MC: All Time Low started in early 2000s when you were in high school. Describe what it was like to start your careers at a young age.

Gaskarth: It was super weird for us, because it literally started as just a garage band. We were

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April 2015

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GUITAR & BASS JAM 2015 BY ERIC A. HARABADIAN

As is our tradition every spring, Music Connection likes to shed light on some of the prominent guitarists and bassists leading the charge within their various musical fields of endeavor. From legends to contemporary players, this is one of our best roundtables yet, with Robin Trower (Procol Harum, Bryan Ferry, Jack Bruce), Rhonda Smith (Jeff Beck, Prince, Chaka Khan), Dewa Budjana (Gigi) and Ana Popovic sharing their elite perspectives on technique, gear and live performance.

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ANA POPOVIC Contact: Mark van Muers - ArtisteXclusive Mgmt., info@artistexclusive.com From her early days as a budding teenaged musician in Serbia to her current status as a world class leader among modern blues/rock guitar stylists, Ana Popovic is a unique success story. Her latest album, Can You Stand the Heat, blends sultry Memphis soul with jazz, rock and blues for a sonic stew that is sure to satisfy.

What strides have you made to become better at your craft?

Whenever I have time off I’m taking some kind of guitar or vocal lessons. And I’m obviously writing too. A lot of people who come out to see us say they can’t believe how much better everything sounds. But when fans buy tickets I want them to know when they come back next time to see our show it’s gonna be even better.

What’s the first thing you notice when you listen to yourself from the recent or distant past?

Well, first of all I don’t listen to any of my previous recordings or watch the videos. I do have some favorite songs that turned out the way I wanted them and I’ll listen to them if I need to. But I’ve never really sat back and enjoyed listening to my own recordings. When I listen to something I did when I was 18 and living in Serbia, just starting out, I think about what a long journey it has been for me. I first played in

What kinds of guitars and effects have you been using?

I’m mostly a Strat player. I do have a Telecaster as well. I have a ‘64 Strat that I’ve used on recordings. As far as amps, I use Mesa Mark IV and Fender as well as an old Bassman. So it’s a combination of things. As far as pedals, I use two Tube Screamers. I like a lot of pedals that people don’t make anymore, like the Vox British Flag wah-wah pedal. I know why they don’t make them––because they would break often. But I think they sound incredible.

All they have to do is break once. But when you fix it, they’ll work forever. I also use an old Boss chorus—the one with two knobs that they don’t make anymore. It’s got a great sound as well as the Line 6 delay units.

Who are some of the artists who have significantly influenced you?

Elmore James, Bukka White, B.B., Albert and Freddie King. I like a lot of modern players, like Robben Ford, John Scofield and Kevin Eubanks. Also, American rock like ZZ Top and Joe Walsh, and some other kinds of rock, like Thin Lizzy. And I can’t forget Stevie Ray Vaughan and Ronnie Earl as well.

What would you say is your most underappreciated quality?

I would say it is my vocals. I think my vocals sound different from a lot of people out there.

I grew up listening to Koko Taylor, Etta James and Mavis Staples and I think I have a more manly sounding female voice. I think I have a tougher approach that fits with jazz and blues, but not so polished.

through. I think people like to see you sweat, especially American audiences.

Conversely, can you describe a highlight?

I would, in recent years, have to say the Experience Hendrix tour. I was the only female artist on that bill, along with Zak Wylde, Eric Johnson, Buddy Guy, Kenny Wayne Shepherd and many, many more. And they’ve had only a few female players over the last 12 years, so it was an honor to share the stage with all those great guitar players.

What is your secret to blending in, yet standing out, with various people as a player?

When you first start to jam, you don’t have a whole lot of time, so bring everything you know and put it into two rounds of a solo. When I started, I learned a few things from my dad. He said to have a great intro lick and a great outro lick. And in between doesn’t really matter. Also, don’t copy anybody––always try to come up with your own stuff.

ROBIN TROWER Contact: Alan Robinson, arm@manhatonrecords.com From classic tunes like Procol Harum’s “Whiskey Train” to the solo sensation “Bridge of Sighs,” Robin Trower is a living legend who has defined modern rock guitar for several generations of fans and players alike. Trower continues that thread of musical innovation on his latest album, Something’s About to Change, on V12 Records.

What have you done in recent years to become a better musician?

I try to pick the guitar up every day. And I’ve found it has brought great rewards in terms of writing more songs and exhausting my ability to play leads. It’s paid off, I think.

What are your impressions when you listen to things you’ve done from five, 10 or 20 years ago?

I actually try not to listen to things I’ve done in the past, because I could be doing better sorts of things now.

There are some good things from the past and then some things I’m not very happy with. That’s the kind of occurrence that forces you to improve and move forward.

I’m still as fired up about playing guitar as I ever was and looking forward to the next tour or in the studio.

Holland with Dutch blues bands, which is totally different from American blues. And then finally I came over to America and played on the festival circuit. I think moving to the States really helped me to be more self-assured as a player. Also, the longer I lived here I started learning English better and was able to write lyrics and develop my songs in a more personal way.

Can you recall an onstage mishap that stands out?

I remember we were recording a live DVD and we found out the cameras were not on. We had to do it all over again. I freaked out at first and said I can’t do this. But, once we did it, we got an even better response. The audience was even more excited the second time

What guitar, effects and strings are you using right now?

My signature Strat that I co-designed with Todd Krause at Fender. I use all Full Tone pedals and have been since the early ‘90s. On my new album Something’s About to Change the main basis of the sound that I get is from my signature model overdrive that Full Tone makes. And I still use Marshall amps as well.

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With strings, the two top ones are the only ones I would consider heavy. But I use really high action to get them ringing properly. The acoustic sound of the guitar is really important to me—to get a good, clear ringing sound from each string. I use Ernie Ball strings and tune down a whole step to D so I can really get some good vibrato.

What has been your worst onstage mishap?

I did some shows with Jack Bruce in Europe a few years ago and I was using a small amp. It caught fire during the set!

I was just pushing it too hard. But I usually hook up two backup amps, at least, so there’s always one going if one goes down.

You still sound very distinctive no matter who you’re playing with. What is the secret to blending in but also standing out?

I’m not sure I know the secret to that. There is a certain amount of creativity that is a gift you’re born with. And a huge part of what I do is coming from a number of influences that start with my love for black music—blues and soul. There’s Howlin’ Wolf, James Brown, Son House, Hendrix—what they created is definitely inside me. There’s no doubt about it.

You’ve got to give credit where it’s due.

I was introduced to the Gary Grainger model PRS bass about 2-3 years ago at their shop in Burbank. I needed a loaner bass, and Gary was nice enough to let me borrow his and see how I liked it. It had different kinds of tones that my other basses didn’t have, and I was very much attracted to it. I am also a fan of 24-fret necks and being able to stay in tune for traveling, and this bass was great for that. So I’ve been endorsing them.

Right now I’m a little in flux about what kind of amp I’m going with. But I use a ton of

RHONDA SMITH

effects, which started when I was working with Prince. I use MXR phasers and the Mutron. I use Dunlop delays. With Jeff Beck I use three different instruments with three different output levels; an acoustic, a fretless and an electric.

I also use a Danelectro Fab Tone distortion pedal, a Seymour Duncan Déjà vu tap delay as well as some other MXR and T.C. Electronics gear. It’s a big board!

Conversely, can you recall a highlight that stands out playing live?

I’ve often been asked that question, as you can imagine, and I have to go back to the first time we played “Bridge of Sighs” live at Winterland in San Francisco around ’73 or ’74. I hadn’t finished writing the lyrics so Jimmy (Dewar) had to sing the same verse twice. It was the first time anyone had ever heard the song and the reaction to it was astonishing. We knew then that we had something really powerful.

Are there any specific requests that you ask of your roadies or techs regarding gear set-up?

The main thing is the string nut on the Strat, because it’s very hard to keep them in tune.

But I’ve developed a way of doing it that works for me, although it’s not perfect. On my signature model Strats I do have the locking tuners. And I teach my roadies to string my guitars one string at a time and pull it until it stops stretching. It’s pretty important that that’s done correctly because I change my strings before every show.

Does your practice regimen vary from when you’re on tour to working in the studio?

I don’t really practice so much as play for my own amusement. When I’m working on a new song I’m also working on how the lead works in it. I usually put those two things together in tandem, as it were. And one of the main requisites of a new song is if it’s something I want to play lead on. If it’s not working I usually don’t pursue it and just drop it. It has to have some sort of potency, either atmospherically or in its rhythmic charge.

In the past you’ve always worked with other singers, like James Dewar, Davey Pattison and Jack Bruce. But now you’re singing as well. What was beind the decision to make that leap?

A lot of the songs were becoming much more personal to me. It started to get more and more important to me how the vocals sit in the track.

So I thought I should sing them.

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Contact: Melissa Dragich-Cordero – Mad Ink PR, melissadragich@gmail.com Canadian bassist Rhonda Smith’s resume reads like a Who’s Who of popular music.

She’s provided support for luminaries such as Prince, Chaka Khan, Patrice Rushen, Beyonce, and many more. Her latest gig for the last few years has been with the incomparable Jeff Beck. With two solo CDs under her belt and a busy touring schedule, Smith is certainly a player on the rise.

How have you become a better musician?

Practice like crazy, my dear, and respect the music. I try to give it 120 percent when I learn someone else’s music. It’s the same as I would want from someone I would hire for my project.

What are your impressions when you hear things you’ve done from years past?

Sometimes I like it. Sometimes I might think that I would play something differently. I’m proud of everything I’ve done and the opportunities I’ve had. But as musicians we’re never really satisfied or else we’re never gonna go any further.

Discuss some of the gear you’re currently using and why?

One thing I’ve noticed is that you are as fluent on the acoustic upright bass as you are the electric bass guitar.

Thank you. I’ve always loved acoustic. I was able to be around a lot of jazz and fusion music when I was first starting to play in my teens in Montreal, Canada. And I’ve been very lucky that I’ve always been able to bring it along with the major artists I’ve worked with for extended periods of time. I think I was the only bassist that played acoustic with Prince when I worked with him in the New Power Generation.

Who are you influenced by, and who are you listening to now that you really like?

I’m really in a jazz phase because I’m trying to go back to bebop and learn a lot. The Miles Davis Legacy collection Kind of Blue was on my rotation for a long time. I’ve been listening to a lot of pianist Bill Evans and just think his bass player was incredible. He liked to give the bass player a lot of space. When I

was younger I started as a rock player. I love Stanley Clarke, Jaco Pastorius, Geddy Lee and Chris Squire too.

What’s your worst onstage mishap?

I was doing this Jaco Pastorius tune in Montreal and my fingers cramped up. My hand just locked up and wouldn’t move!

Conversely, can you recall a stage highlight or two?

I’ve had some absolutely memorable and one-of-a-kind experiences with Prince and Jeff Beck, of course. I got to play for Obama with Jeff. I’ve been all around the world with these artists. I’ve been very blessed.

What is the most significant innovation you’ve seen in bass technology in the past decade?

I’d probably have to say some of the basses.

Like this PRS bass has an incredible preamp in it. They didn’t have those years ago. Some of the amps, like Aguilar, are incredible, with their abilities to be so lightweight but still get this great sound. That wasn’t there 10 or 20 years ago as much. Power, size and weight have been a major improvement.

What kind of advice do you share with aspiring players?

You gotta do it because you love it and it really will love you back. I don’t think people who

Do you have any special requirements for gear maintenance you ask of your roadie or guitar tech?

Not really. I just plug in and play and want it to work. Depending on the size of the show, I’ve shared techs with other players. It can get very complicated at times. We’ve done very large shows where we don’t even get a sound check. When we played Crossroads festival with Jeff Beck we went out in front of thousands of people and you just hope your stuff works.

I have a lot of buttons to push and instruments to keep in tune, so I really hope my techs do their job. Nobody’s handing me my instruments so I have to make all the onstage changes myself.

What is your secret to blending in, yet remaining distinctive and standing out?

Like I said before, you’ve gotta love and respect the music. We all wanna get that callback. We can play with a lot of people, but it’s important to develop long-standing relationships with people too. When you tour, you’re almost like family with people in a band. You have to get along with people. No one wants to be babysat.

There’s almost more to it than just the music.

There’s a lot of politics involved as well, so that’s all-important to having longevity in this business. And I make sure to never take any of this for granted.

many Asian territories since the early ‘90s.

His latest solo ventures, however, reveal an equally accomplished jazz-fusion acumen that has come to fruition in the last few years. His latest release of instrumental music is called Hasta Karma on the Moonjune Records label.

What’s the first thing that you notice when you listen to yourself from recordings of five or 10 years ago?

Sometimes I’m ashamed when I hear my old recordings. Sometimes they’re funny. A lot of times I’m thinking how I can blend the melody and harmony in a better way. It just depends on what I’m listening to.

What guitars and effects are you using?

I have a PRS Custom 24 guitar. I also use a Duesenberg hollow body guitar. But at home I still use my Parker Fly Deluxe for studio overdubs. And for acoustic I have a Taylor. For gear I’m still using Mesa Boogie and Bad Cat amplifiers. For a preamp I use a Bob Bradshaw Custom Electronics CAE 3+ model.

Who are some musicians that have influenced you?

John McLaughlin was the one who got me into playing different kinds of music, like jazz.

Before that I was just playing pop music.

Weather Report is another group that influenced me as well.

TURI PENDULUM

What is your most underappreciated quality?

Maybe composing?

A lot of musicians I’ve played with, such as Jimmy Johnson, Gary Husband, Antonio Sanchez and Joe Locke, have said that a lot of my music is very simple and melodic, yet complex inside.

are successful in this business and continue to work got into it to make a lot of money or thought they were gonna play with this person or that. They picked up the instrument because it brought them a completion or some kind of love they were missing. I don’t play every day, but if I don’t play bass for a certain amount of time, I feel imbalanced because I feel it is an extension of me. So, if you’re really genuine about it you’re gonna find your way as a musician.

DEWA BUDJANA Contact: Leonardo Pavkovic - Moonjune Records, noanoamusic@moonjune.com In his native Indonesia, Dewa Budjana is a bonified rock star. As guitarist in the popular band Gigi, he has maintained healthy album sales and hit status throughout

What has been a highlight for you as a live performer?

There have been many highlights with my band Gigi.

But a big one for me was when we recorded at Abbey Road Studios. But as a solo performer, playing a large concert featuring my jazz-fusion music in Jakarta in 2007 was very special.

How are you able to adapt to musical situations working with so many different people, as you do?

When I play with Gigi for 5,000 or 10,000 people and then play with my jazz group in a small club––those can be very different kind of experiences.

For me it is all about finding a balance between the two. But still it is all about trying to play my best––playing at a minimum level and not overplaying or overdoing it.

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– PAUL “CHICO” FERNANDEZ

Special Events:

How to Land – and Keep – Those Great Gigs

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his year I performed at the 2015 Oscars.

I played timbales with Gary Valentine and his band Malibu Mariachi. He and his group performed at last year’s Oscars as well. We played for the guests and stars as they arrived and/or left the event. Ordinarily a timbalero is not a part of a mariachi band. The clients wanted a “spicier” kind of Latin Music this year, so we played some Mambos, Cha Chas, Meringues and other “Salsa Music.”

What was it, you might ask, that led us to playing this gala event and many other fine gigs, such as a party at Arnold Schwarzenegger’s house; a party at auto sales mogul Fletcher Henderson’s mansion; special effects director Richard Taylor’s birthday at the Pacific Dining Car in Santa Monica, and many others in Malibu, Pacific Palisades, Beverly Hills and more? A long, lasting relationship.

Gary and I first met in the late ‘70s in Santa Monica. He was a fine guitarist, vocalist and harmonica player in those days. I hired him on as a music teacher and we also started playing gigs together, everything from private parties, weddings, nightclubs and bars to corporate functions. He is an especially fine Spanish and classical guitarist who speaks fluent Spanish, after having lived and worked in Spain for a number of years. He is also a consummate businessman and promoter.

Over the past few years we have collaborated on many musical projects, including bookings, recordings, teaching music and having a lot of fun while doing so.

Today Gary Valentine is one of the 40 instructors who teach at the Santa Monica and Culver City Music Centers. He gives private lessons and classes on ukulele, guitar and harmonica.

He has had a professional relationship with one of the people who run the annual Oscars event and through the skills developed over many years of being a businessman as well as an accomplished musician he was able to make and develop that connection. This, by the way, is what I and my associates teach in my Music Career Workshop classes at Santa Monica Music Center.

I perform at the Beverly Hills Summer concert series with the Westside Jazz Ensemble in the summer and at the Culver Seniors Center Tea Dance a few times a

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year. The WJE is a 17-piece big band plus a vocalist. The band is under the direction of saxophonist David Jacques from New Orleans and consists of men and women of all ages.

The organization has been in existence for about 40 years and is a good band and a fun social event all rolled into one.

How does all this relate to performing at the Oscars? Here are some timely tips: 1) Utilize ALL of your friends and acquaintances to further your career and, specifically, get gigs.

“When you are on the set in a movie or TV show, or at an Oscars event, DON’T be a total amateur and ask for autographs, or take pictures of the celebrities, or talk to people you are not authorized to speak to.”

2) Be kind to those you meet on the way up— they may get a gig for you later, and help you when and if you are on the way down.

3) If you play more than one instrument (I play drum set and timbales) let contractors, bandleaders and others know about it.

4) When you are on the set in a movie or TV show, or at the Oscars, DON’T be a total amateur and ask for autographs, or take pictures of the celebrities, or talk to people you

are not authorized to speak to. As an example: at Arnold Schwarzenegger’s party his “people” had us band members sign a three-page legal document instructing us NOT to take pictures, etc. However, Arnold was kind enough to pose for pictures with us when Gary the Bandleader had an opportunity to do so.

5) Turn off and stay off your cell while you are working. There is nothing more annoying than a member of cast and crew or band members talking or texting while working. It also may interfere with sound recording and the complex array of electronics and signals that are present on or near a set. (By the way if you are a member of the musicians’ union, you are considered a part of “Cast and Crew” NOT Atmosphere or Extras). This has its advantages vis-a-vis better food and treatment.

6) Do not drink or eat until the Band Leader or Music Contractor tells you it is okay. When you do, don’t be a pig. Practice good manners and etiquette.

7) Do not EVER get drunk, high or tipsy on the gig. The old saying, “You’ll never work in this town again,” applies.

8) After the Oscar performance, take pictures, selfies and text or call your friends and relatives if you want to.

9) The next day or so, send emails, press releases, texts or whatever to industry people to let them know what you have done and what you are doing in the future.

10) Last but not least: IF YOU CAN’T SAY SOMETHING NICE ABOUT SOMEONE, DON’T SAY ANYTHING AT ALL! PAUL “CHICO” FERNANDEZ is a professional drummer in the Los Angeles area. Fernandez has not only taught drums but has worked as a talent manager, producer, booking agent, photographer and graphic artist. Joined by his brother, he opened the Santa Monica Music Center where he gives lessons and holds career development workshops that feature industry pros who deliver the information and contacts needed for a successful career in show business. For complete information about workshops, see santamonicamusic.com/t-history.aspx.

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– VICTORIA PATNEAUDE

Your Music Company A Crowdsourcing/Record Label Hybrid Draws “Fanvestors”

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rowdsourcing has raised many questions about the future of record labels, since the movement enables bands to go directly to fans to fund new projects. With these questions up in the air, it was only a matter of time before a website harnessed the best parts of the crowdsource movement and paired them with the best parts of a record label.

Enter Your Music Company, a statelicensed music platform that has changed the crowdsourcing model. Offering their investors—or rather, “fanvestors”—more than just a prize for donating, YMC is unique in that the company gives fans the opportunity to actually profit from the artists they’ve chosen to support.

Inspired by a French crowdsourcing site, YMC founders Yael Benamour and Christel Gidouin decided that they could not only find a better way to execute the idea, but they could take it to the U.S. where nothing like it

yet existed. By March of 2011, YMC was up and ready for business.

“Pop singer Georgia Jane is the first artist to be signed,” says Benamour, “the first to be fully funded and release a track.” After reaching her goal, the singer/songwriter was able to pay her fanvestors a reported total of $100,000.

However, not just any artist can raise money through YMC. In fact, an artist must first be approved through the site, where they will then go through a voting process in which fanvestors vote them on to the next round. By gaining at least 25,000 votes, artists and bands enter the funding phase, in which they have three months to reach their set goal. If that goal is not met, much like Kickstarter, all proceeds are returned.

But, if the goal is met the artist enters the next phase in which all the funds raised go toward professional guidance, recording an album and filming a music video. Benamour

elaborates: “The purchase of royalty interest doesn’t allow a fanvestor to own any kind of rights or percentage on a song, meaning if the song is picked up for film and television, they do not receive any part of the payout.

Instead, their earning is received from track and album sales, with respect to distribution,” About three months after the first track is released, fanvestors split 25% of the net revenue based on the number of units they’ve invested in.

What’s most important within YMC, say its founders, is transparency. “Transparency is key for trust and success,” Benamour says. “YMC grants the right to fanvestors to request an audit of our accounting records in connection with the relevant album. They are able to see the calculation of net revenues and the calculation of the proceeds in respect of their royalty interest.”

For complete information, visit yourmusiccompany.com.

After reaching her goal on YMC, singer/songwriter Georgia Jane was able to pay her fanvestors a reported total of $100,000.

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Vanilla Fudge

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Spirit of ‘67

Cleopatra Records Producers: Carmine Appice & Mark Stein The year 1967 was pivotal for psychedelic rock. Playing tribute to that historical moment, Vanilla Fudge navigates genres, on time-tested hits bound together by the arrangements and the band’s iconic sound.

“I Heard It Through the Grapevine” draws you in with its signature bass line, standout organ and lead guitar. Other nuggets include “I Can See For Miles,” “I’m A Believer” and “Ruby Tuesday.” Though some reinventions are stronger than others, this ever-entertaining band never fails to put a unique stamp on any song. – Ellen Woloshin

Swami John Reis and the Blind Shake

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Morgoth

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Ungod

Century Media Records Producers: Morgoth, Jörn Michutta and Matthias Klinkmann

Following At the Gates’ 2014 first studio LP in 19 years, fellow European deathmetallers Morgoth follow suit with a new record that’s the same number of years in the waiting. Ungod likely won’t crack as many album-of-the-year lists as At War With Reality did, but that’s no knock on these German diehards. Proving they haven’t grown soft with age, the band lays down a brutal assault from start to finish, even on the titular instrumental track, which could’ve easily functioned as a six-minute smoke break. – Kurt Orzeck

Fritz Kalkbrenner

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Ways Over Water

Suol/BMG Producer: Fritz Kalkbrenner

Modern Surf Classics Swami Records Producer: Swami John Reis

Guitarmeister John Reis (Rocket From The Crypt and Drive Like Jehu) reinvents himself with an amazing set of surf-rockers.

Ably assisted by Minnesota band, the Blind Shake, these tunes are superbly crafted allinstrumental rock & roll. The trick with surf music is to avoid cliches while still referencing styles of the past, and this is exactly the case here. Some great titles too, like “Zulu As Kono,” “Poseidon’s Tears” and “Sets of Fire” almost veers into Sonic Youth territory. If the Pixies’ version of “Cecilia Ann” was the acorn, then this release is the oak! – David Arnson

Kalkbrenner’s new album is a tastefully created popish electronica soundscape.

Even though the artist has hit critical mass in Europe, there are plenty of people in North America who don’t know about him yet. However, I believe his latest album, Ways Over Water, will stretch his sound out even more. With this, his third studio album, Kalkbrenner has done a great job of bridging a gap between pop-styled songwriting and electronica, a feat that even the more rigid electronic music fans will appreciate. If you’re a fan of electronic music, this is worth the purchase. – Scott Binder

AWOLNATION

The Sweetwater Hillbillies

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RUN

Red Bull Records Producer: Aaron Bruno

On The Road

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Merrimack Records Producer: Joe Melnikas and Donnie Gullet

The quintessential hipster, alt-pop electronic rockers have unleashed another bundle of luscious, uncommon compositions marked by preternaturally memorable lyrics. A pair of extraneous answering machine messages gums up the flow (why do artists think these everyday artifacts are worth sharing?), although it’s easy enough to overlook this transgression. Followers of Imagine Dragons will immediately cotton to the group’s danceable yet otherworldly assortment of fuzz, electronic bloops and inexorable hooks.

Don’t fail to attend this intergalactic throwdown. – Andy Kaufmann

This funky, playful and rambunctious all-star group of songwriters and first-call sidemen (guitarist Travis Wammack, fiddler Donny Carpenter, pianist S.E. Willis and singer/ multi-instrumentalist Shane Rollopay) pay sweet homage to a wide swath of indigenous music—from swampy Depression era folk and bluegrass to Western Swing, Memphis R&B and Southern Rock. Cooking up a special multi-generational brew with infectious wit and whimsy, they roar about everything from “Backwater Slap Jar Soul Sauce” to rattlesnakes, motorcycles and Mountain Dew. – Jonathan Widran

Big Sean

Smallpools

Dark Sky Paradise GOOD Music/Def Jam Recordings Producers: Various

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Three times is the charm for this Detroit emcee, who with witty wordplay and a fresh delivery has finally scored a solid release.

Sean displays a musical range with club bangers like “I.D.F.W.U.,” the autobio “Win Some, Lose Some,” and the encouraging “One Man Can Change the World.” Though he seems unfazed by the heavyweights featured here (E-40, Lil’ Wayne, Kanye West), the album presents perhaps too many mood shifts. Through it all, though, Sean proves to be viable and sustainable—the reason Kanye West signed him to GOOD Music. – Adam Seyum

Lovetap!

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RCA Records Producers: Various Indie pop band Smallpools debut with flying colors, delivering infectious, upbeat tunes that instill the desire to dance—perhaps with a bonfire on the beach or cruising the highway with windows down. Nearly every song is a catchy pop gem that paints a vibrant mural of jubilation. The only downside is that the songs start blending together midway through the album, sounding similar to one another. The band has nevertheless found a sound where they can shine. Standout tracks include hit single “Dreaming” and “Street Fight” with its cheesy yet endearing lyrics. – Siri Svay

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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Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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Of Eyes That See

Messiah

Contact: info@ofeyesthatsee.com Web: ofeyesthatsee.com Seeking: Label, Booking, Film/TV, Radio Style: Alt & Punk/Rock/Electronic/Dance

Contact: tnoble0911@gmail.com Web: sinnersredemption.com Seeking: Label Style: Hip-Hop

Female-fronted trio is led by the rangey, full-throated Tiffany, whose confident power imbues the hooky “Dangerous Love” with echoes of Paramore, whom the band most closely resembles. The song’s arrangement is quite crafty, with powerful drum tones and strings that, despite a bass-heavy mix, add an elegant emphasis at the right moments.

On “Endlessly” she transitions from chest voice to head tones seamlessly. On the ballad “Bittersweet...,” the band’s most commercial tune, her yearning tones morph adroitly into a full-throttle Katy Perry-like gallop. More pop, less rock, the song proves to be the type of track that is ideal for Tiffany’s vocal skills. Overall, this is a tight band with a singer who makes you believe in her words.

Artist Messiah (how’s that for humility?) has a smooth, gliding flow that could sweep any lady off her feet. In “Goddess” that is exactly what he does, all but promising to deliver a second coming to his Perfect 10, taking her “in a chariot to the Marriott.” (Yes, his clever wordplay is entertaining.) “Whip” is a harderedged track––percussive, urgent, deploying another rapidfire flow matched to a synthesizer beat and volleys of rat-a-tat percussion.

Most importantly, the song’s hook recurs effectively and has strong momentum. Best of all is “Top of the Mountain”––a relaxed and sensual boaster, it has his most memorable beat over which the rapper states his romantic intentions. It shouldn’t take a miracle for this Messiah to get signed.

Production Lyrics Music Vocals Musicianship

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Rodpo

Alarm Clock Conspiracy

Contact: rodpo36066@gmail.com Web: rodpo.com Seeking: Label, Distribution, Booking Style: R&B/Hip-Hop

Contact: booking@alarmclockconspiracy.com Web: alarmclockconspiracy.com Seeking: Label, Booking, Film/TV, Distr.

Style: Indie Rock/Power Pop/Alt-Country

Alabama-based rapper/singer Jerod Powe and his producer have put together some intriguing songs that, despite weaknesses, are well worth attention. “Moderation” is easy to embrace, such a cool, seductive track that keeps it simple and gets the job done––wooing the women. Rodpo gets more ambitious, however, with “Life,” which hits it perfectly in its first 2/3––but then we get a sudden mood swing that spins our hats around. Same thing with “Tempo,” a dreamy love-pledge that has us fully seduced––until its abrupt shift to what sounds like a different song. Nevertheless, Rodpo’s clarity and flow as a rapper is impressive and we urge him to seek pro coaching to help bring his singing voice up to the same high level.

Fronted by two singer/songwriters, this well-recorded quartet specializes in tight, guitar-driven, nice-guy rock. Chris Carter’s mellow voice soothes “Got My Mind Made Up,” a catchy, amiable outing with smooth vocal backups and organ (by Randal Bramlett) that adds a welcoming glow (though his solo could be louder). A similar formula powers “Harlequin,” by Ian Reardon, a laidback singer with a more resonant tone than Carter’s. His tune has a nice, bluesy guitar solo, but the grave and lengthy finale seems unnecessary. Carter’s “To My Lost Friend” is another song in which the instrumentalists shine––in this case it’s the piano, which adds a bright accent to the song’s wistful nostalgia. All in all, ACC is a good, solid band.

Production Lyrics Music Vocals Musicianship

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Lucid Fly

The Penny Serfs

Contact: contact@lucidfly.com Web: lucidfly.com Seeking: Booking, Film/TV, Mgmt., PR Style: Alternative/Progressive Rock

Contact: rachel@bigpicturemedia.com Web: soundcloud.com/thepennyserfs Seeking: Label Style: Indie Rock

Dark, propulsive modern-rock with chiming, metallic guitars, pleading vocals and kick-ass drums, Lucid Fly conjure a world of epic struggles in bold hues of black and blue. Songs (“Waiting,” “What Winter Was Like,” “In This Ocean”) are expansive and cinematic––ripe for film/TV or video game soundtracks. This material is more familiar than fresh, however, and if the band wants to advance from the Evanescence-meets-A Perfect-Circle comparisons, it will have to inject a fresh twist into the formula. Further, the consensus among our group is that singer Nikki Layne, though tonally right for this band, still has ample room to step up and lead these formidable musicians with even more fire and conviction.

Crafty and versatile, these Iowa alt-rockers bust out some vintage Kinks-injected garagerock with “Manic Depressive,” taking the fuzztone-fueled song into modern alt-rock territory with the addition of shimmery guitars and singer Michael Loy’s fx’d vocals.

They lighten up with “Dead Love,” a toetapper with an easygoing cadence and inyour-face lyrics that describe a relationship gone awry. Loy once again filters his voice for “The Legend of Jim Falcon”––though its underlying structure sounds as clockwork as a synth-rock song, it is presented straightforward and organic: guitars-drum-bass.

Some of us think this one is the catchiest of the lot, a tune that a station like KROQ radio in Los Angeles could get behind.

Production Lyrics Music Vocals Musicianship

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Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score.

A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on next the page.

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Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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Peppina

Prisms & Portals

Contact: catie@iseeyoupublicity.com Web: peppinamusic.com Seeking: Booking, Film/TV, Label Style: Singer/Songwriter

Contact: prismsandportals@gmail.com Web: prismsandportals.bandcamp.com Seeking: Film/TV, Label Style: Progressive Rock

Peppina and her co-writers have fashioned a collection that shows the singer to be smart, spirited and crafty. “My Only Heart” gets to its decent hook quickly, though chorus lyrics are not clear due to a mix that allows the band to overwhelm the vocals. Meanwhile, we could imagine the sunny, ukulele-fueled “What You Are Will Show” on a rom-com soundtrack, though lyrics once again are too often indistinct. Peppina’s most realized recording is “We Can Go Back Again,” which showcases her as a rangey, appealing vocalist delivering a chorus that is easy to sing along to. Her diction on this track is effective and we advise this promising Finnish singer to bring the same precision to all of her performances.

A one-man instrumental project from Shaun Riekena, Prisms & Portals could be of particular interest to game developers and genre film makers. Each theme we heard–– “In Waves,” “Intercept Linear 7” and the 11 minute “The Fossil Lights”––follows an effective formula: a mysterious, hypnotically repetitious motif builds to a dramatic conclusion.

Along the way there are enough interludes of intrigue and instrumental flourishes (like great fuzz-bomb guitar tones) that could make an ambitous visual project come to life.

Indeed, the simplicity of each composition seems to demand a visual element to ground it or give it context. Our favorite track is “Intercept Linear 7” which makes an impact via its oddly chant-like voice component.

Production Lyrics Music Vocals Musicianship

8 x 7 x 8

Sugar on the Dashboard

Rebecca Hosking

Contact: sugaronthedashboard@gmail.com Web: soundcloud.com/sugaronthedashboard Seeking: Label, Booking, Film/TV, Distrib.

Style: Alternative Rock

Contact: hoskingrebecca@gmail.com Web: reverbnation.com/rebeccahosking Seeking: Film/TV Style: Country/Folk/Singer/Songwriter

Altanta-based Brayden Gomer brings good punk energy to his songs, decrying life’s frustrations and predicaments in a convincing voice. “Mr. Role Model” is a perfect example of his work: an aggressive, stinging alt-rock riff powers a chorus that comes through loud and clear, all of it supporting a snide, snotty vocal. “Somebody Else” has a similar music and lyric attack, albeit with a somewhat grungy ‘90s vibe. Gomer gets to a full gallop with “Cologne Man & Feisty Woman,” which starts with a cool stereo effect and launches into a relentless, repetitious hook. As good as the production is on these songs, we can imagine that SotD flourishes better as a live act that can whip a club crowd into a frenzy.

Clearly, Nashville-based Hosking is an experienced performer. Though not a powerhouse vocalist, she delivers her sweet, straightforward, acoustic material (“Trouble” and “The Stranger”) with a confident “nomakeup” understatedness and with adept backup support that plays to the songs––not over them. Her resonance fits the warm, welcoming humanity of her words. Our preference is for “No Reason,” not just because it benefits from a full band arrangement (including a drummer) but because it really puts the hook across. All in all, Rebecca Hosking exudes a heartland appeal backed up by sturdy songcraft that has led to several TV placements. Some of us feel her music would blossom in a kids TV setting.

Production Lyrics Music Vocals Musicianship

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ohnomoon

Super Awesome Macho

Contact: catie@iseeyoupublicity.com Web: ohnomoon.com Seeking: Label, Booking, Film/TV Style: Indie/Rock/Shoegaze

Contact: pwildman@sbcglobal.net Web: facebook.com/SuperAwesomeMacho Seeking: Promotion, Booking, Label Style: Surf Punk Garage Rock

Buckets of dreamy, reverbed atmosphere adorn these tunes by a N.Y. band fronted by singer Kat Lee, who invests the material with a breathy, sweetly alluring sensuality. It’s a cool sound––and, at times, the band’s downstroked guitars remind us of the heavenly swell of the Breeders’ best work. Film/TV music supervisors, especially, might take to ohnomoon’s cinematic moodiness. Beyond that, the band’s gauzy billow of fx’d sonics can’t obscure the songs’ basic need of more substance. None would hold up if performed on an acoustic guitar, which is the true test.

Though ohnomoon has conjured a hypnotic echo-chamber of possibilities here, it will be interesting to see if the band can continue to develop as songwriters.

A volatile cocktail of sludge, surf and psychobilly might describe this foursome who, though they’re a ragged bunch in-studio, may be a balls-to-the-wall live act. Their raw recordings (apparently done live-in-studio) indulge in red-line distortion that makes “Badass” a suitably grungy, garage-rock tune.

The song’s halting nature, though, keeps it from ever gaining real momentum. “The Most Kick Ass Song Ever” does not live up to its hype, but manages to generate decent surfguitar sparks and a springboard for frontman Pete Wildman’s reckless, indecipherable growl. Better is “Truck Drivin’ Daddy,” which reminds us of Rev. Horton Heat for sheer psycho-surf abandon. Kudos to guitarist Steve Dixon for his frantic fretwork.

Production Lyrics Music Vocals Musicianship

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SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor.

To be considered please go to musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee.

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Cantab Lounge

Cambridge, MA

Contact: contact@bloodknifeband.com Web: bloodknifeband.com Band: Roberto Garcia, guitar, vocals; Aaron Montecalvo, bass, backup vocals; Sam Scribner, drums.

Musicianship: Sam Scribner’s spirited drums in conjunction with Aaron Montecalvo’s plump bass lines lay the foundation for Blood Knife’s ominous sound, but it’s Garcia’s guitar licks that solidify their style. Equally comfortable throwing down bright colors as well as muddying the well with dark clouds that portend a dark destiny, Garcia’s singing similarly runs the gamut, mixing a straight-ahead rock approach with guttural howls that could summon demons.

Regrettably, his vocals prove their weakest element, occasionally vanishing amid the trinity’s instrumental woof. Other times, his warbling just isn’t up to snuff.

Performance: For a baby band, Blood Knife sported a considerable stage rapport, gently and comically teasing the audience between songs, then displaying their metal pedigree with Garcia’s hirsute headbanging while in

Genghis Cohen

BLOOD KNIFE full facemelt mode. Otherwise, they don’t offer much by way of eye candy, dressing plainly and letting the music speak for itself.

Accidentally knocking over beverages is a good sign, though, that they’re slaves to the rhythm.

Summary: Although they’re to be commended for their first-rate shredding and novel blend of metal strains, Blood Knife do not yet generate a fully coalesced sound. Instead vacillating

ANDY KAUFMANN

Material: Heavy metal gets a makeover as this groove-oriented trio blends elements of ‘80s hair bands and modern luminaries, like Lamb of God, into one adrenaline-jammed package. For example, humor plays a role in a song about two of lead singer Roberto Garcia’s favorite things, “oral sex and chain restaurants.” Or consider the plucky number concerning “being frustrated about boning because you’re a ghost and all you have is a ghost dong.”

between butt-shaking dominance and merely loud, irresistibly engaging and simply another act to endure. Perhaps taking Garcia off vocal duties and employing a charismatic frontman would shine new light upon their chemistry. In the final analysis, they’re off to a magnificent start, serving up a sound that is both fun and at least moderately fresh. Once several more elements fall into place, the band will become truly noteworthy.

– Andy Kaufmann

Los Angeles, CA

Material: Matt Turk’s lyric heavy, slow-paced songs have folk foundations, but incorporate other genres like gypsy jazz and old-timey country. Turk hits his stride in his emotional folk tunes, replete with plucking mandolin riffs and warm acoustic chords. “Battle Song” and “Sorrow Is Loud” possess vintage qualities, and he should aspire to write more songs in that vein. “What a Boy,” an upbeat reggae tune, and “In Her Smile,” a ballad of sorts, disrupts the cohesiveness of Turk’s folk sound, which begs for the bare minimum.

Musicianship: Turk is no stranger to the mandolin or acoustic guitar. He is a solid rhythm player with dynamics, but could use with more vocal training because his quieter notes and falsetto often veer off pitch.

Henderson holds down the groove and plays with emotion, gelling with Markmann’s firm bass lines. Markmann plays in the pocket and lets the light shine on Turk, while Pinnella does not. While a talented player, Pinnella has one volume—loud—which doesn’t fit Turk’s sound. He needs to adapt to play and fit the genre. Ziggy’s ominous organ riffs add a warm darkness to the material.

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MATT TURK Performance: To celebrate the release of his new album, Cold Revival, Turk played it in its entirety to an intimate crowd. Unfortunately, the performance was disjointed because of the inclusion of various genres that don’t mesh with Turk’s folk roots. His vocals suffered when he sang too close to the microphone, which muffled his lyrics. While the band added girth, the material called for simplification. A solo acoustic performance would have done more justice to his material. Each time Pinnella soloed, he drowned out the band with wahinduced vibratos and arena rock antics.

Turk finally fell into a groove in the final

VINCENT STEVENS

Contact: wendy@hellowendy.com Web: turktunes.com The Players: Matt Turk, guitar, mandolin, vocals; David Henderson, drums; Rick Markmann, bass; Dan Pinnella, guitar; Ziggy, keyboards.

songs of the set, which harkened back to twangy, emotional, old folk tunes. The relaxed acoustic guitar riffs, with wisps of airy keyboards, complemented the verbose lyrics that illustrated personal stories. Turk closed the night with “In Her Smile,” which would have been richer if more harmonies were added.

Summary: Turk aims to please, but doesn’t quite hit the mark. Simplifying the material and focusing on old-fashioned folk will make his sound more cohesive. If this artist sticks to his singer/songwriter roots, his performance will only benefit.

– Vincent Stevens

HIT ME 90s

Saint Rocke

Hermosa Beach, CA

Contact: mara@marasong.com Web: hitme90s.com The Players: Britney “Left Eye” Aguilera (Mara Hitner), lead vocals; Suge White (Joseph DiLeva), bass, vocals; Chazz Starr (Pancho Burgos), keyboards, vocals; Wayne Grohl (Jon Poli), drums, vocals; Mookie Blaylock (Flint Mavis), guitar.

Material: Flannel, torn jeans, heroin—they’re all back in style. And now there’s a band

KURT ORZECK

instrumentation to the stage. Whether it be good fortune or good strategy, the songs Hit Me 90s chooses to cover—Britney Spears’ “… Baby One More Time,” blink-182’s “All the Small Things,” Nine Days’ “Absolutely (Story of a Girl)”—require minimal musical skill. That is hella cool, because it gives guitarist Mookie Blaylock, bassist Suge White, drummer Wayne Grohl and keyboardist Chazz Starr that much more freedom to goof around.

performing ‘90s radio hits at clubs in L.A.?

Cut. It. Out. Giving boy and girl bands, onehit wonders and gangsta rappers their due props, Hit Me 90s came into being after the bandmembers’ former group, an ‘80s covers band called Mara & the Big Rockstars, ran its course. A decade into performing together, they haven’t lost sight of their singular and simple goal: having fun.

Musicianship: The five musicians who form the group could easily use prerecorded tracks as a crutch, but they actually bring live

Performance: Hit Me 90s put on a quintessentially interactive show; indeed, without the audience dancing and singing along to songs like “Tubthumping” (Chumbawumba) and “Gangsta’s Paradise” (Coolio), their gigs might get rather…err… awwwk-ward. Fortunately that wasn’t the case at Saint Rocke, where the group played its first gig in front of a sizable crowd. The band spurred the crowd into action and further amused it with a TV theme song medley, a modem dialing up, a pager “accidentally” going off and other interludes/skits. Sadly, lead singer Mara Hitner (dressed as Spears during the show) told Music Connection later on that she had been suffering from a cold, which would explain her limited vocal range that night.

Summary: Music lovers keen to hear their favorite ‘90s songs in an interactive setting might be more inclined to hit a karaoke bar than see a band take a stab at re-creating them. Also, it’s nearly impossible to imagine Hit Me 90s releasing an album—after all, what would be the point? And it seems equally unlikely that any extensive touring would be in order, at least in the immediate future. But as a novelty group, sure, it works.

– Kurt Orzeck

House of Blues Foundation Room West Hollywood, CA

Material: Slapbak serves up funky, soulful tunes peppered with hints of gritty, distorted rock. Songs like “For Those About To Bounce,” which is inspired by the classic AC/ DC anthem, and “We Come To Jam” are driven by tight rhythms, choppy guitar licks and heavier breakdowns that crescendo into powerhouse choruses. Slapbak has channeled the two best genres of the ’70s: rock and funk. Doubled vocal lines help choruses catch on quickly, occasional rap verses add a visceral intensity and Contreras’ backup vocals seduce the listener.

an energetic rapper, but he could work on annunciating to help make the vocals clearer.

Musicianship: Harris slaps, plucks and fingerpicks his bass—a rich, deep tone— with a purpose and forms a tight pocket with Conlee, who has solid time and a poppy feel. Smith holds down the rhythm on his Fender Stratocaster, but could solo more to emphasize the band’s jam quality. Harris’ keyboard is often subdued. Assertive playing can help fuse with Smith’s licks. Contreras has complete control of her dynamic vocal range and could be featured on more of the material. Finally, Quake is a hype-man and

Performance: It was a funky, sweaty night, replete with jumping, dancing and high energy. Opening with a soulful rendition of “Low Rider,” Slapbak took command of the audience and didn’t release them until the final snare. The band was obviously wellrehearsed, smoothly transitioning from one song to the next without hesitation. Harris’ dirty bass line gelled with Conlee’s expressive groove on “Pure Funk,” which hearkened back to James Brown in his prime era.

The band intermixed covers with originals.

SLAPBAK

VINCENT STEVENS

Contact: jaraslapbak@gmail.com Web: slapbak.com The Players: Jara Harris, bass, lead vocals; TJ Quake, rap, vocals; Alicia Contreras, vocals; Adam Smith, guitar; Alyse Harris, keyboards; Jesse Conlee, drums.

Quake constantly elevated the crowd’s energy, encouraging dancing and participation.

The crowd was incredibly responsive to “Fakin My Music” and “Never Fake The Funk,” which boasted a liquid bass line with melodic breakdowns, where sultry keys held everything together. After a voluptuous “Uptown Funk,” Slapbak closed with a powerful punch: the fuzzy, grimy “Payback.”

Summary: Slapbak brings the funk. The band writes solid material that catches on quickly, but could feature more solos. This wellrehearsed group is not to be missed.

– Vincent Stevens April 2015

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The Whisky A Go Go

West Hollywood, CA

Material: The spirit of ‘80s metal and rock & roll is alive in the energetic, distorted songs of Slick and Wicked. Hollow sounding drums and rich bass tone epitomize the arena rock feeling, but the material lacks the strength to propel Slick and Wicked into the limelight. Songs like “Garbage” or “Pulling Teeth” seem lackluster and could use musical and lyrical revision. Most of the lyrics are empty and repetitive, and the guitar parts are a tad sloppy. Cleaning up the picking, refining the vocals and changing up song structure could drastically change this band’s material.

Musicianship: Simon Steele plays his parts straight up the middle, but weaves in and out of time with the drummer, Mike Edwards. Edwards, who has solid time, hammers the skins, which gives the material a sturdy foundation. His drum fills, however, could be more assertive and varied. Johnny Tee competently strums his axe, achieving a grizzly yet melodic tone. His raspy vocals add grit to the genre, which is something Steele should take note of.

Performance: There’s nothing more rock & roll than watching a group of sweaty guys jam on stage having a blast. Tee crouched down in his solos, violently caressing his guitar, while Steele plucked his bass, which had a deep, solid tone emitting from his Mark Bass amp,

Bowery Ballroom

SLICK AND WICKED and maintained the power stance. “Lost Souls of Hollywood,” a song played halfway through the set, had a haunting, minor-chord riff and a vibrato filled guitar solo. The song broke down into a jazzy section, which didn’t fit the mood or flow of the song.

Steele and Tee traded off vocals, but Tee’s rasp and overall energy proved stronger.

Steele’s vocals also started wavering midway through the set, and his harmonies suffered.

“One More for the Road” was the climax of the show: a balls-out, testosterone filled rocker

VINCENT STEVENS

Contact: johnyteehee@yahoo.com Web: facebook.com/slickdicks The Players: Johnny Tee, guitar, vocals; Simon Steele, bass and vocals; Mike “Metal Mike” Edwards, drums.

with with a gritty riff. The other songs such as “Fractured Skull” or “Go for the Throat” just didn’t stand out.

Summary: It is evident that the guys in Slick and Wicked enjoy playing rock music. The thrill of performing is admirable and entertaining, but that only gets a band so far. Polishing musical chops, reworking the songwriting and composing more meaningful lyrics will set Slick and Wicked in a positive direction.

– Vincent Stevens

New York, NY

Material: Los Angeles-based Dark Waves brought their own brand of indie rock to an eager and receptive audience. Aptly dubbed “electro-romantic,” they combine live instrumentation with electronic elements while thematically grappling with relationship woes. Longing, disappointment and isolation are tackled with sober restraint and a nonsentimental approach conveyed by strong imagery and thoughtful lyrics. This is evident in “I Don’t Wanna Be In Love,” the strongest song from their new EP: “If all that we are is too much in scars, lines in a movie, the same fated song, we both sing along, then I don’t wanna be in love.” In “Echo,” trying to forget a failed triste evokes a mood of emptiness and obsession: “And every time I try to let go you keep coming back like an echo.”

Musicianship: Frontman and songwriter Nick Long’s sultry, resonant bass voice and driven guitar work commands immediate attention.

The overall interest level was heightened by the clarity of the lyrics. Many rock bands rely on the musical vibe for their performance, and the lyrics are often obscured and accepted on faith. Maybe you never learn what they are until you read them. While sticking to his 52 April 2015

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DARK WAVES musical guns, Long did so without sacrificing the words. With each band member equally pulling his weight, they combined clean, wellexecuted playing with electronica elements and compelling arrangements.

Performance: Dark Waves’ presentation was a no nonsense, no gimmicky affair—just solid, straight-ahead playing and good songs.

They capitalized on their 30 minutes in the spotlight while still sparing a few moments to connect with the audience. Not straying too far afield from their subject matter, the band kept their musical statement pretty consistent,

which didn’t offer as much variety as a longer set with more peaks and valleys might allow.

Nevertheless, they succeeded in keeping the crowd engaged.

Summary: Dark Waves projects a maturity and centeredness not always present in a band at this career juncture. They used their time on stage economically, leaving behind a pretty strong footprint, which bodes well for their future. While some songs are more memorable than others; each possesses a craft and a mindfulness that is meaningful and complex.

– Ellen Woloshin

MARK SHIWOLICH

Contact: amber@bigpicturemediaonline.com Web: darkwaves.com The Players: Nick Long, vocals, guitar; Chris Greatti, guitar, backing vocals; Ian MacGregor, bass; Jared Shavelson, drums.

of hip-hop. From samples to breakbeats to jazzy instrumentals, these funky homo sapiens get down like James Brown. Their songs are original, provoking thought that gives the listener a unique perspective from the inside looking out.

HILLTOP HOODS The Roxy Theatre

Los Angeles, CA

Contact: info@bluemaxmusic.com.au Web: hilltophoods.com The Players: Suffa, emcee, producer; MC Pressure, emcee; DJ Debris, DJ.

Material: What do you get when you mix the swag of Run-DMC with the persona of Crocodile Dundee? You get Australia’s very own Hilltop Hoods. Two emcees and a DJ, this independent rap trio embodies the spirit

DANIEL SEYUM

Musicianship: With seven albums deep and independently grinding, these three musicians understand their potential and mass appeal.

Their production sounds orchestral, with live instrumentation comprising piano, strings, cello and booming bass. MC Pressure and Suffa are sonically in sync, and DJ Debris colors the music over their voices.

Performance: At this show, Hilltop delivered a remarkable set. Suffa gave a solo a cappella that had MC Pressure adlibbing, transitioning to the reflective “I’m a Ghost” where they delved into certainties of their future, and how they must come to grips with death. Consistently engaging with their audience, the trio performed hits such as “I Love It,” “Cosby Sweater” and “Rattling the Keys to the Kingdom.” The crowd was amped and tuned-in––and a little long-winded––but it did not deter the Hoods from giving a balanced performance worth the price of admission.

Summary: It’s no mystery that Hilltop Hoods are the underground kings of Australian hiphop music. They are visionaries, philanthropists, businessman, but most of all, organic artists, taking an indie approach, delivering their services to those who care to embrace them. They are role models and a guiding light to up-and-coming artists, worldwide.

– Adam Seyum

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Directory of

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ARIZONA MUSIC ACADEMY 1700 E. Elliot Rd., Ste. 11 Tempe, AZ 85284 480-705-0875 Web: www.arizonamusicacademy.com TONAL CENTER GUITAR INSTRUCTION 1051 W. University Dr. Tempe, AZ 85281 480-894-3346 E-mail: kurt@tonalcenter.com Web: www.tonalcenter.com

CALIFORNIA AARON WOLFSON Los Angeles, CA 323-650-9400 E-mail: aaronwolfson@aol.com Web: www.aaronwolfson.com Contact: Aaron Basic Rate: call for rates Styles/Specialties: All styles. Learn what you want to know. Guitar, bass, piano, songwriting, music theory for all instruments; including vocals.

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Clients: all levels Styles/Specialties: all styles ANAHEIM HILLS GUITAR AND BASS LESSONS 300 S. Blackberry Ln. Anaheim, CA 92808 714-457-4342 E-mail: foelsch@sbcglobal.net Contact: Keith Foelsch Basic Rate: $20/half-hr., $30/hr.

Clients: From beginners to top pros Styles/Specialties: I regularly perform in arenas and concert clubs with top national acts.

I teach all styles. Learn how to play chords and solos in any key, or how to make up bass parts easily, so you can record and perform with all types of bands.

ANDY BRAUER SERVICE COMPANY North Hollywood, CA Santa Clarita, CA 818-631-3777 Contact: Andy Brauer E-mail: andybrauerguitar@gmail.com Web: www.facebook.com/andybrauer Services: Repair

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South Gate, CA 90280 323-569-5700 E-mail: rosa@arrowmusic.com Web: www.arrowmusic.com Clients: all levels Styles/Specialties: all styles Basic Rate: call for info BANANAS AT LARGE 1504 4th St. San Rafael, CA 94901 888-900-1959, 415-457-7600 E-mail: info@bananasmusic.com Web: www.bananasmusic.com Basic Rate: call or check website for info

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Additional Location: 515 Ross St. Santa Rosa, CA 707-542-5588

CALIFORNIA VINTAGE GUITAR AND AMP 5244 Van Nuys Blvd.

Sherman Oaks, CA 91401 818-789-8884 Fax 818-789-8827 Web: www.californiavintageguitarandamp.com E-mail: sales@californiavintageguitarandamp. com Specialties: We sell top-of-the-line new and vintage guitars and amps including Fender, Gibson, Gretsch, Martin, Guild, National Resophonic and Eastman dealers. We have been actively dealing in vintage and professional quality guitars, amplifiers and other stringed instruments in the Southern California area since 1968, and pride ourselves on being a guitar show and not a big store.

BARKER’S MUSIC 3125 McHenry Ave., Ste. F Modesto, CA 95350 209-526-0347, 209-996-9773 E-mail: kyle@barkersmusic.com, kyle@ barkermusic.com Web: www.barkersmusic.com Basic Rate: call for info BASS EXCHANGE/GUITAR BASS PRO/ AMP-SHOP 13701 Ventura Blvd.

Sherman Oaks, CA 91423 818-386-5500 E-mail: info@bassexchange.com Web: www.bassexchange.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

CANOGA SCHOOL OF MUSIC 7361 Canoga Ave. Canoga Park, CA 91303 818-340-4021 Contact: Ted Kraut E-mail: ted@canogaschoolofmusic.com Web: www.canogaschoolofmusic.com Basic Rate: call for info

BAXTER/NORTHUP MUSIC 14534 Ventura Blvd.

Sherman Oaks, CA 91403 818-788-7510 E-mail: baxternorthupmusic@gmail.com Web: www.baxternorthup.tumblr.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

AMUSE 43-C Peninsula Center Palos Verdes, CA 90274 310-377-7838 E-mail: chris@amusemusic.com Web: www.amusemusic.com Basic Rate: call for info

B. HEFNER COMPANY 11701 3/4 Washington Blvd.

Whittier, CA 90606 562-945-9490 E-mail: bhefnerco@clear.com Web: www.bhefner.com Services: Along with building Fender licensed

musicconnection.com

BOULEVARD MUSIC 4316 Sepulveda Blvd.

Culver City, CA 90230 310-398-2583 Web: www.boulevardmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

BRUCE MONICAL Music Instruction for all ages North Hollywood, CA 818-994-9990 E-mail: brucemoni@yahoo.com Private lessons on guitar, bass, drums, percussion and keyboards **Call for rates

ALTA LOMA MUSIC 8615 Baseline Rd. Rancho Cucamonga, CA 91730 909-989-5757 Web: www.facebook.com/altalomamusic. rancho Basic Rate: call for info

54 April 2015

BILLY BURKE 123 E. Montecito Ave. “C” Sierra Madre, CA 91024 626-622-6123 E-mail: billy@lovelessmotel.com Web: www.lovelessmotel.com Basic Rate: call for info

BRUCE GARNITZ MUSIC Los Angeles, CA 310-397-8488 E-mail: bgsongs@me.com Notes: For guitar students, he teaches guitar styles that include jazz, blues, rock, folk and pop. All levels welcomed--beginning, intermediate and advanced students. He is also known for helping singer/songwriters accompany themselves and showing rock band guitarists how to “lock into the groove” when playing with a band. Improvisation for classical musicians is also a specialty. **Call for an appointment. Flexible Hours.

ARCADIA MUSIC CENTER 1270 S. Baldwin Ave. Arcadia, CA 91007 626-821-0482 Fax 626-447-8650 E-mail: info@arcadia-music.com Web: www.arcadia-music.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

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replacement parts necks and bodies, B. Hefner Company also manufactures custom guitars, guitar parts and guitar bridges for more than a dozen of America’s finest guitar companies, wholesalers and countless custom builders.

Fender, Kramer, Gibson, Epiphone, Dean, Steinburger, Travis Bean are but a few of the companies we are making parts for--the list goes on.

B Y

CASSELL’S MUSIC 901 N. Maclay Ave. San Fernando, CA 91340 818-365-9247, 661-297-5544 E-mail: cassells@cassellsmusic.com Web: www.cassellsmusic.com Basic Rate: call for info CHARLES MUSIC CENTER 421 N. Glendale Ave. Glendale, CA 91206 818-242-6597, 323-245-3096 Fax 818-242-1214 E-mail: george@charlesmusicstore.com

D E N I S E

Web: www.charlesmusicstore.com Basic Rate: call for info COAST MUSIC 24002 Via Fabricante, Ste. 308 Mission Viejo, CA 92691 949-768-8783 Web: www.coastbandmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles, additional location in San Clemente Additional locations: 4970 Irvine Blvd. #109 Irvine, CA 92630 714-731-3415 CRAIG BECK Santa Clarita, CA 661-296-8685 Web: www.getlessonsnow.com/craigbeck Basic Rate: call for info Clients: all levels Styles/Specialties: all styles Notes: lessons customized to your needs and recorded on CD CULVER CITY MUSIC CENTER 10862 Washington Blvd.

Culver City, CA 90230 310-202-6874 Web: www.santamonicamusic.com Basic Rate: call for info House Calls: yes DANA GONZALES 1412 E. Maple St. #A Glendale, CA 91205 323-841-8055 E-mail: ledgemusic@yahoo.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles DIETZ BROS. MUSIC 240 S. Sepulveda Blvd.

Manhattan Beach, CA 90266 310-379-6799 E-mail: john@dietzbrothersmusic.com Web: www.dietzbrothersmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles ߐ ERIC’S GUITAR SHOP 8101 Orion Ave. #21 Van Nuys, CA 91406 ߐ818-780-7191 E-mail: Ericsguitarshop@att.net ߐWeb: www.ericsguitarshop.com Contact: Eric ߐBasic Rate: call for rates Clients: Foo Fighters, Joe Walsh, John Mayer, Red Hot Chili Peppers, Hutch Hutchinson, Dave Matthews, Beck and many others.ߐ Services: Top quality electric and acoustic guitar and bass repair, modification and custom guitar building. Fender authorized repair service. Over 20 years of service in the same location.

FAUNT SCHOOL OF CREATIVE MUSIC Los Angeles, CA 818-506-6873 E-mail: inq092009@druminstruction.org Web: www.musicalskills.com Basic Rate: see web Clients: All levels. Forty percent of students already professional, many quite accomplished.

Serious beginner and intermediate students also welcome.

Styles/Specialties: method taught one-onone, specializing in piano, guitar and bass, and applying to any style, for greatly increasing the “musician skills” and knowledge typically not or poorly addressed in music lessons or classes.

FRET HOUSE, THE 309 N. Citrus Ave. Covina, CA 91723 626-339-7020, 800-BET-FRET Web: www.frethouse.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles FULLERTON MUSIC CENTER 121 N. Harbor Blvd.

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Download at musicconnection.com/industry-contacts Fullerton, CA 92832 714-871-1805 E-mail: info@mosfullertonmusic.com Web: www.mosfullertonmusic.com Basic Rate: call for info Level: all Styles/Specialties: all styles Notes: full line music store GEORGE FOSTER Hollywood, CA North Hollywood, CA Sherman Oaks, CA 818-505-0840 E-mail: georgefosterband@hotmail.com Web: www.georgefostermusic.com Basic Rate: call for rates Clients: all levels, kids and beginners Styles/Specialties: blues, rock and jazz Notes: Performance degree from Berklee College of music. *House calls.

GERARD’S GUITARS 19641 Ventura Blvd.

Tarzana, CA 91356 818-344-8482 E-mail: sulc@wgn.net Web: www.gerardsguitars.com Clients: All Ages Styles and Levels Basic Rate: call for info GILMORE MUSIC 1935 E. 7th St. Long Beach, CA 90813 562-599-1369 E-mail: lbgilmoremusic@yahoo.com Web: www.gilmoremusicstore.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles GO FAR GUITAR SCHOOL 22028 Ventura Blvd., Ste. 101 Woodland Hills, CA 91364 818-704-5777, SKYPE E-mail: gofarguitar@aol.com Web: www.gofarguitar.net Basic Rate: call for info Styles/Specialties: Combined Contemporary and Classical *Note: Over 30 years experience, taught over 1,700 students, including Michael Einziger of Incubus GRAYSON’S TUNE TOWN 2415 Honolulu Ave. Montrose, CA 91020 818-249-0993 E-mail: graysonstunetown@sbcglobal.net Web: www.graysonstunetown.com Basic Rate: Check website for rates and teachers bios Clients: all levels Styles/Specialties: all styles GUITAR ALLEY 11701 3/4 Washington Blvd.

Whittier, CA 90606 562-945-9490 E-mail: repair@guitarrepairalley.com Web: www.guitarrepairalley.com Services: Guitar Alley is the premier Hot Rod Shop just for your guitar. We carry a full inventory of bodies, necks, miscellaneous guitar parts and accessories. Our repair shop is second to none. Being a manufacturer we have the highest rating among all guitar companies when it comes to warranty work.

Call for any of your guitar repair needs. Over 28 years experience, 100% satisfaction.

GUITAR GALLERY 18416 Ventura Blvd.

Tarzana, CA 91356 818-578-3262 E-mail: boghratguitar@gmail.com Web: www.laguitarlesson.com Basic Rate: call for info Clients: all levels Styles/Specialties: classical, flamenco, pop GUITAR MERCHANT, THE 7503 Topanga Canyon Blvd.

Canoga Park, CA 91303 818-884-5905 E-mail: theguitarmerchant@yahoo.com Web: www.guitarmerchant.com Basic Rate: call for info Clients: beginners to advanced Styles/Specialties: All styles GUITAR SCHOOL 1712 Pacific Coast Hwy. Redondo Beach, CA 90277 310-540-6767 E-mail: mrfrets@aol.com Web: www.theguitarschool.com Basic Rate: call for rates Clients: all levels, all ages Styles/Specialties: all styles

Additional location: 3840 Woodruff Ave., Ste. 109 Long Beach, CA 90808 562-627-0464

Band is in its 14th year! Our program also puts students (kids and adults) in bands and prepares them for a gig. All ages, levels and styles. Professional band coaching is also available.

562-627-0464 Web: www.longbeachschoolofmusic.com Basic Rate: call for rates Clients: all levels, all ages Styles/Specialties: all styles

HAL OPPENHEIM Sherman Oaks, CA 818-784-2307 Web: www.imdb.com/name/nm2373968, www. reverbnation.com/thepurplegroup Basic Rate: Call for rates Styles/Specialties: all styles including fingerpicking

KASHA AMPLIFIERS, INC. 1464 Madera Rd., Ste. 332 Simi Valley, CA 93065 866-224-6316, 805-426-6803 E-mail: sales@kashaamplifiers.com, SKYPE Web: www.kashaamplifiers.com Products: Amplifiers, effect pedals, modification systems

Additional locations:

HAMROCK MUSIC INSTRUCTION Aliso Viejo, CA 949-230-7136 E-mail: mark@hamrockmusic.com Web: www.hamrockmusic.com Contact: Mark Hamrock

KAYE’S MUSIC SCENE 19369 Victory Blvd.

Reseda, CA 91335 818-881-5566 E-mail: gkayesmusicscene@aol.com Web: www.kayesmusicscene.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

INSTRUMENTAL MUSIC 1501 Thousand Oaks Blvd.

Thousand Oaks, CA 91360 805-496-3774 Web: www.instrumentalmusic.com Basic Rate: start at $30/hr.

Styles/Specialties: all styles Additional locations: 3171 E. Main St. Ventura, CA 93001 805-654-9388 Basic Rate: call for info 3328 State St. Santa Barbara, CA 93105 805-569-5055 JES SELANE Sherman Oaks, CA 323-251-6078 E-mail: terry@abstracttalentagency.com Web: www.selane.com Contact: Terry Mandel Styles/Specialties: Rock, blues, metal, pop, jazz. Top celebrity references, 18 years teaching experience Basic Rates: call for more info or see lesson section on website JIM’S MUSIC CENTER 14061 Newport Ave. Tustin, CA 92780 714-669-3600, 800-644-6874 Fax 714-669-3030 E-mail: info@jimsmusic.com Web: www.jimsmusic.com House Calls: no Clients: beginner to expert Styles/Specialties: all styles JOHN MAURICE DOYLE Green Monster Music 4543 Carpenter Ave. Studio City, CA 91607 818-358-3810 E-mail: customer_service@ greenmonstermusic.com Web: www.greenmonstermusic.com Basic Rate: call for rates Clients: all levels Styles/Specialties: all styles JOHNNY THOMPSON MUSIC 222 E. Garvey Ave. Monterey Park, CA 91755 626-280-8783 E-mail: jtmusic@hotmail.com Web: www.johnnythompsonmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles JOHN TAPELLA Los Angeles, CA 818-270-0768 E-mail: John@guitarempire.com Web: www.guitarempire.com Basic Rate: please call or email for info Clients: Beginning to advanced Styles/Specialties: All styles Notes: Guitar Transcriber for Hal Leonard, 20 years experience. **Online Skype, one on one, lessons available contact John@guitarempire.com JOIN THE BAND MUSIC LESSONS STUDIO Music Lessons For All Ages Van Nuys, CA 818-345-8950 E-mail: classes@jointheband.com Web: www.jointheband.com Basic Rate: call for info or see our website Clients: all levels Styles/Specialties: Private lessons on guitar, bass, drums, keyboards and voice. We have a great staff of the best music teachers and music professionals in Los Angeles. *Notes: “Where Everyone Plays.” Join the

KRUSE KONTROL AMPLIFICATION Sun Valley, CA 91352 818-333-6781 E-mail: info@krusekontrol.com Web: www.krusekontrol.com Basic Rate: rates determined by service type Styles/Specialties: repair/service of tube+solid state amps including modifications+overhaul LA HABRA MUSIC 1885 W. La Habra Blvd.

La Habra, CA 90631 562-694-4891 E-mail: info@lahabramusic.com Web: www.lahabramusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles Additional location: 1191 Magnolia Ave. Ste. B Corona, CA 92882 951-898-2630 LA MIRADA MUSIC 14928 Leffingwell Rd. La Mirada, CA 90638 562-941-4495 E-mail: lamiradamusic@gmail.com Web: www.facebook.com/LaMiradaMusic Basic Rate: call for info Clients: all levels Styles/Specialties: all styles LAGUNA HILLS MUSIC 23011 Moulton Pkwy., Ste. E9 Laguna Hills, CA 92653 949-830-4310 E-mail: lagunahillsmusic@yahoo.com Web: www.lagunahillsmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles L.A. MUSIC ACADEMY 300 Fair Oaks Ave. Pasadena, CA 91105 626-568-8850, 800-960-4715 (U.S. only) E-mail: info@lamusicacademy.edu Web: www.lacm.edu LARRY LARSON MUSIC STORE 1607 W. Glenoaks Blvd.

Glendale, CA 91201 818-244-7608, 818-240-1343 E-mail: leigh@larrylarsonmusicstore.com Web: www.larrylarsonmusicstore.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles LESSONSTHATROCK MUSIC LESSONS Los Angeles, CA Orange County, CA 562-773-0422 Web: www.lessonsthatrock.com Contact: Micah J. Mata, owner LON COHEN STUDIO RENTALS North Hollywood, CA 818-762-1195 Fax 818-762-1196 E-mail: office@loncohen.com Web: www.loncohen.com Basic Rate: call for rates Services: We rent top of the line backline (guitars, basses, amps, keyboards and drums), which can be heard on records from Aerosmith to ZZ Top and have been seen on television from Conan to Lopez. We also offer cartage, temp. controlled storage, and world class guitar, bass and amp repair.

LONG BEACH SCHOOL OF MUSIC 3840 Woodruff Ave., Ste.109 Long Beach, CA 90808

1710 S. Pacific Coast Hwy. Redondo Beach, CA 90277 310-540-6767 Web: southbayschoolofmusic.com Peninsula School of Music 31244 Palos Verdes Dr. W. #205 Rancho Palos Verdes, CA Web: www.pvpeninsulamusic.com/index.html 310-918-0439 MARINI’S MUSIC 222 W. Main Alhambra, CA 91801 626-289-0241 E-mail: marinimusic@gmail.com Web: www.marinimusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles MAR VISTA RECORDING Guitar and Bass lessons with Heart Mar Vista, CA 90066 310 467-0889 E-mail: remmusic@verizon.net Contact: Jerry Manfredi Basic rate: $50.00 Notes: I have been teaching for over 25 years all styles beginners and pros.

McCABE’S GUITAR SHOP 3101 Pico Blvd.

Santa Monica, CA 90405 310-828-4497 Fax 310-453-4962 E-mail: mccabessm@aol.com, matt@ mccabes.com Web: www.mccabes.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles *Also banjo, uke, mandolin, fiddle, Appalachian (fretted) dulcimer MOREY’S MUSIC STORE INC. 4834 Woodruff Ave. Lakewood, CA 90713 562-420-9532 E-mail: info@moreysmusic.com Web: www.moreysmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles MOUNTAIN DOG MUSIC WORKS 485 N. Ventura Ave., Ste. E3 Oak View, CA 93022 805-649-8500 E-mail: mdmrecording@aol.com Web: www.mountaindogmusic.com Contact: Tim Frantz Services: guitar, bass, keyboards, recording, song production--lessons are tailored to the individual MUSICIAN’S DEPOT 30839 Thousand Oaks Blvd.

Westlake Village, CA 91362 818-706-3795 E-mail: musiciansdepot@sdk3.com Web: www.musiciansdepot.biz Basic Rate: call for info Styles/Specialties: all styles MUSICIANS INSTITUTE 6752 Hollywood Blvd.

Hollywood, CA 90028 800-255-7529, 323-462-1384 E-mail: admissions@mi.edu Web: www.mi.edu Basic Rate: call for info Level: beginner to expert Styles/Specialties: all styles Clients: all levels Styles/Specialties: all styles, with an emphasis on live performance; classroom and/ or one-on-one instruction, guest concerts and seminars MUSIC MAKER RETAIL STORE 5701 E. Santa Ana Canyon Rd. Anaheim, CA 92807 714-974-0830 E-mail: info@musicmakerinc.com Web: www.musicmakerinc.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles MUSIC STORE, THE 785 Pinefalls Ave. Diamond Bar, CA 91789 909-598-1921 Web: www.atthemusicstore.com

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Directory of Guitar/Bass Instructors & Services Basic Rate: call for info Styles/Specialties: all styles MUSIC WORKS 4711 Artesia Blvd.

Lawndale, CA 90260 310-379-5194 Basic Rate: call for info Clients: beginner to intermediate Styles/Specialties: all styles NEAL’S MUSIC 6908 Warner Ave.ߐHuntington Beach, CA 92647ߐ714-842-9965ߐ E-mail: guitardealsinfo@aol.com Web: www.nealsmusic.com/shop Basic Rate: call for info Clients: all levelsߐ Styles/Specialties: all styles NORMAN’S RARE GUITARS 18969 Ventura Blvd.

Tarzana, CA 91356 Store 818-344-8300 E-mail: normsgtrs@aol.com Web: www.normansrareguitars.com Basic Rate: $25 per 1/2 hour or $50 per hour Clients: all levels Styles/Specialties: all styles PETE’S MUSIC AND GUITAR SHOP 2060 S. Euclid Anaheim, CA 92802 714-534-7383 E-mail: guitarfish@petesmusic.com Web: www.petesmusic.com Basic Rate: lessons start at 4 classes for $59.95 (beginners) Clients: all levels Styles/Specialties: group lessons, and lessons for all styles and all levels Additional locations: 29800 Bradley Rd. #107 Corner of Newport and Bradley Sun City, CA 951-301-8088 28780 Old Town Front St., Ste. A-4 Temecula, CA 951-308-1688 PJ LABINSKI Burbank, CA 323-807-1834 E-mail: pj@underthegroove.com Web: www.underthegroove.com/home.htm Basic Rate: call for info Styles/Specialties: all styles, levels ROARK’S GUITAR INSTRUCTION 618 N. Madison Ave. Pasadena, CA 91101 626-796-3026 E-mail: roark_h1@yahoo.com Basic Rate: $35 per hr.

Clients: all Levels Styles/Specialties: all, electric, acoustic rock, folk, finger style, classical, improvisation ROCKENBACK MUSIC GROUP P.O. Box 20093 Piedmont, CA 94620 510-531-5625 E-mail: jock@rockenbachmusic.com Web: www.rockenbachmusic.com Contact: Jock Rockenbach SANTA MONICA MUSIC CENTER 1901 Santa Monica Blvd.

Santa Monica, CA 90404 310-453-1928 E-mail: sales@santamonicamusic.com Web: www.santamonicamusic.com Basic Rate: call/e-mail for info Clients: all levels Styles/Specialties: all styles SINGER MUSIC 1217 N. Hacienda Blvd.

La Puente, CA 91744 626-917-9300 E-mail: singermuzik@aol.com Web: www.singermusic.com Basic Rate: call/e-mail for info SOUTHERN CALIFORNIA CONSERVATORY OF MUSIC 22726 Roscoe Blvd.

West Hills, CA 818-704-3819 E-mail: info@sccm.us Web: www.sccmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: jazz, classical Notes: special programs for the visually impaired SOUTH PASADENA MUSIC CENTER & CONSERVATORY 1509 Mission St.

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S. Pasadena, CA 91030 626-403-2300 E-mail: spmc@att.net Web: www.southpasadenamusic.com SQUID MUSIC 10742 Beach Blvd.

Stanton, CA 90680 714-826-4000 Web: squid.net Basic Rate: call for info Clients: all levels Styles/Specialties: all styles STEIGER 323-854-1873 E-mail: Steiger_Rocks@yahoo.com Web: www.steigermusic.com Contact: Ken Steiger Basic Rate: call for info Clients: all levels and all ages Styles/Specialties: blues, rock, metal, shred Notes: Home and office lessons available.

Exercise handouts and jam trax STEPHEN DICK Mojacar Flamenco South Pasadena, CA 91030 626-403-7489 E-mail: stephen@mojacarflamenco.com Web: www.mojacarflamenco.com, www.studioflamenco.com STYLES MUSIC 777 E. Foothill Blvd.

Pomona, CA 91767 909-621-0549 E-mail: gregg@stylesmusic.com Web: www.stylesmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles THE TEC SHOP 3940 Studio Laurel Canyon Studio City, CA 91604 818-508-1070 E-mail: info@the-tecshop.com Web: www.proaudio-repair.com Services: We repair all tube and solid state amps including Fender, Gk, Marshall, Roland etc.

TIMEWARP MUSIC 12257 Venice Blvd.

Los Angeles, CA 90066 323-600-5050 E-mail: timewarpmusic1@yahoo.com Web: www.timewarpmusic.com Basic Rate: call for info Notes: also specializes in repairs and lessons TRUETONE 714 Santa Monica Blvd.

Santa Monica, CA 90401 310-393-8232 Fax 310-260-1415 E-mail: sales@truetonemusic.com Web: www.truetonemusic.com Contact: Shawn Fleming Basic Rate: call for info Clients: all levels Styles/Specialties: all styles VALDEZ GUITAR SHOP 7420 W. Sunset Blvd.

Hollywood, CA 90046 323-874-9998 Clients: all levels Styles/Specialties: all styles Basic Rate: call for info VENTURA MUSIC 11268 Ventura Blvd.

Studio City, CA 91604 818-761-9669 Specialty: We buy, sell, trade, repair and service top-quality used guitars, basses and amps including Fender, Gibson, Gretsch, Marshall, Silvertone and more.

VPR STUDIOS Los Alamitos, CA 562-310-2753 E-mail: vpr_studios@yahoo.com Basic Rate: call for info Clients: beginners to intermediate guitarist and bassist Styles/Specialties: all styles Notes: focuses on reading and writing music notation, rhythm notation, cheat sheet and charts. Also teaches piano, songwriting, guerilla marketing and general music business. Graduate of Fullerton College, Cal State Fullerton. Member of ASCAP, BMI and AMPAS. Former students are now working musicians.

WOODLOWE MUSIC CENTER 21410 Ventura Blvd.

Woodland Hills, CA 91364 818-883-0050 Web: www.woodlowe.com

Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

COLORADO BROADWAY MUSIC SCHOOL 1940 S. Broadway Denver, CO 303-777-0833 E-mail: info@broadwaymusicschool.com Web: www.broadwaymusicschool.com Basic Rate: call for info DENVER MUSIC INSTITUTE 4195 S. Broadway Englewood, CO 80113 303-788-0303 E-mail: denvermusicinstitute@msn.com Web: www.denvermusicinstitute.com Basic Rate: call for info DICK MEIS SCHOOL OF STEEL GUITAR 8932 Bruce St. Denver, CO 80260-4909 877-380-1010, 303-428-4397 Web: www.pedalsteelguitar.net Basic Rate: call for info FLESHER-HINTON MUSIC COMPANY 3936 Tennyson St. Denver, CO 80212 303-433-8891, 800-225-8742 E-mail: info@flesherhinton.com Web: www.flesherhinton.com Basic Rate: call for info OLDE TOWN PICKIN’ PARLOR 7515 Grandview Ave. Arvada, CO 80002 303-421-2304 E-mail: unclekit@picknparlor.com Web: www.picknparlor.com Basic Rate: call for info

FLORIDA GUITAR INSTITUTE OF FLORIDA AND F.A.M.E. 6507 N.W. 26th Terrace Gainesville, FL 32653 352-870-4794 E-mail: guitarflorida@msn.com Web: www.guitarflorida.wix.com/jeff Contact: Jeff Lightnin Ladenheim MIAMI MUSIC WORKS, INC. 11771 S. Dixie Hwy. Miami, FL 33156 305-256-1655 E-mail: miamimusicworks@aol.com Web: www.miamimusicworks.com Basic Rate: call for info RON KAYE’S MUSIC INSTRUCTION 4696 Kimberly Dr. Pensacola, FL 32526 850-453-9966 Web: www.rkmusicinstruction.com SAM ASH MUSIC CORPORATION Paul J. Ash, President 7726 Cheri Ct. Tampa, FL 33634 1-800-472-6274 E-mail: help@samash.com Web: www.samash.com Notes: Serving Musicians since 1924

GEORGIA HOWIE BENTLEY Cumming, GA Alpharetta, GA 770-889-8520 E-mail: mail@howiebentley.com Web: www.howiebentley.com VISION MUSIC LIVE Atlanta, GA 404-229-1282 E-mail: info@visionmusiclive.com Web: www.visionmusiclive.com Basic Rate: call for info SANDY SPRINGS MUSIC 5920 Roswell Rd., Ste. D-201 Atlanta, GA 30329 404-250-0406 E-mail: info@sandyspringsmusic.com Web: www.sandyspringsmusic.com Basic Rate: call for info

HAWAII CHUCK JAMES MUSIC STUDIO Westgate Plaza 94-360 Pupupani St. Waipahu, HI 808-678-3763 Web: www.chuckjamesmusicstudio.com

Additional locations: Stadium Mall 4510 Salt Lake Blvd.

Honolulu, HI 808-488-1101 Central Oahu and North Oahu 10 N. Kamehameha High, #1 Wahiawa, HI 808-678-3763 KAILUA MUSIC SCHOOL 131 Hekili St., #209 Kailua, HI 96734 808-261-6142 E-mail: info@kailuamusicschool.com Web: www.kailuamusicschool.com/guitar.htm Basic Rate: see website

ILLINOIS CENTER SCHOOL OF MUSIC 900 N. Franklin St. Chicago, IL 60610 312-416-0622 E-mail: info@chicagoschoolofmusic.com Web: www.centerschoolofmusic.com Basic Rate: call for info CHICAGO GUITAR LESSONS 3021 N. Troy Chicago, IL 60618 773-583-2529 E-mail: guitar@chicagoguitarlessons.com Web: www.chicagoguitarlessons.com Contact: Michael Powell Basic Rate: $35/hr Clients: 16 to 40 years of age Styles/Specialties: electric, acoustic, rock, finger-style GUITAR CHICAGO 150 N. Michigan Ave. Chicago, IL 312-863-8588, SKYPE E-mail: info@guitarchicago.com Web: www.guitarchicago.com Basic Rate: call for info MUSICAL EXPRESSIONS OF ILLINOIS LLC 190 E. 5th Ave. Naperville, IL 60563 630-355-1110 Web: www.musicalexpressions.net Basic Rate: call for info

LOUISIANA ANDY HYMEL SCHOOL OF MUSIC 1800 Stumpf Blvd., Unit 2 Terrytown, LA 70056 504-362-1212 E-mail: andyhymelschool@bellsouth.net Web: www.AndyHymelSchoolofMusic.com Basic Rate: call for info COVINGTON SCHOOL OF MUSIC 1111 Village Walk Covington, LA 985-590-4545 E-mail: webmail@laapa.com Web: www.laapa.com Basic Rate: call for info MANDEVILLE SCHOOL OF MUSIC 316 Girod St. Mandeville, LA 70448 985-674-2992 E-mail: webmail@laapa.com Web: www.laapa.com Basic Rate: call for info RIVER RIDGE SCHOOL OF MUSIC & DANCE 2020 Dickory Ave., Ste. 200 Haraham, LA 504-738-3050 E-mail: webmail@laapa.com Web: www.metairieschoolofmusic.com Basic Rate: $75/month Services: guitar, bass, vocals, piano, drums

MAINE THE GUITAR STUDIO Portland, ME 207-773-3444 E-mail: info@guitarstudio.com Web: www.myguitarstudio.com Styles: Jazz, Blues, Country, Rock, Music Theory Services: beginner to professional Notes: 25 years of teaching experience

MARYLAND DAVE DEMARCO 410-299-4744 E-mail: dave@davedemarco.com Web: www.marylandbasslessons.com

Download Download at at musicconnection.com/industry-contacts musicconnection.com/industry-contacts COLUMBIA GUITAR SCHOOL Pontiac, MI 48342-2336 410-868-7131 248-335-7015 E-mail: scott@columbiaguitarschool.com E-mail: art@freshhotshirts.com Web: www.columbiaguitarschool.com Web: www.freshhotshirts.com MIKE ELZEYS GUITAR STUDIO FRONTGATE 410-228-7199MEDIA 22342 Avenida Empressa, #260 E-mail: mikeelzeysguitarstudio@yahoo.com Rancho Santa Margarita, CA 92688 Web: mikeelzeysguitarstudio.com 949-429-1000 Web: www.frontgatemedia.com Services: Full service, strategic merchandising MASSACHUSETTS company designing and producing apparel LEEDS GUITARMAKERS’ SCHOOL and accessories for brands and bands, 12 N. Mainand St.movements, and companies and ministries P.O. Box 434 conferences.

Williamsburg, MA 01096 GEARHEAD 413-548-0034RECORDS 8704 Milo Ct. E-mail: ivon@leedsguitar.com Elk Grove, CA 95624 Web: www.leedsguitar.com 916-897-2451 Cost: please call or see web for info E-mail: info@gearheadrecords.com Web: www.gearheadrecords.com

Additional locations: Web: www.jakprints.com/contact Services: offset printing, screen printing, sticker Apple Valley printing, embroidery, 14750 Cedar Ave., S.more.

Apple Valley, MN 55124 KILL THE 8 Canada Chanhassen 416-531-6647 470 W. 78th St. E-mail: sales@killthe8.com Chanhassen, MN Web: www.killthe8.com, www.myspace.com/ killthe8 Birch Lake Elementary School 1616 Birch Lake Ave. KLUCH CLOTHING CO. White Bear Lake, MN 55110 215 S.E. 8th Ave. Boynton Beach, FL 33435 THE PODIUM 561-734-9665 4151 Minnehaha Ave. Web: www.kluch.com Minneapolis, MN 55406 877-487-6336, 612-767-2800 KUNG FU NATION MUSIC MERCHANDISE E-mail: sales@thepodium.com 731 W. Hargett St. Web: www.guitarrodeo.com Raleigh, NC 27603 Basic Rate: call for info 877-826-0518, 919-834-0230 Fax 919-834-2090 Web: www.kungfunation.com

GIGART AXIS MUSIC ACADEMY San Francisco, CA Metro Detroit Area E-mail: mail@gigart.com 248-799-8100 Web: www.gigart.com E-mail: mmoy@axismusic.com Web: www.axismusic.com GO MERCH Basic call for info E-mail:Rate: support@gomerch.com Web: www.gomerch.com Additionalapparel/product, locations: Services: e-mail blasts, social media, VIP Pre-sales, Pre-order Campaigns 29555 Northwestern Hwy., 2nd Fl. Southfield, 48034GROUP HOME RUNMI MEDIA 15562 Chemical Ln. 248-799-8100 Huntington Beach, CA 92649 E-mail: southfield@axismusic.com 714-901-0109 Fax 714-901-0102, 800-951-5858 E-mail: sales@home-run.com 42114 Ford Rd. Web: www.home-run.com Canton, MI 48187 Services: Promotional Products 734-742-1400 Styles/Specialties: USB Flash Drives, Custom E-mail: canton@axismusic.com Logo Apparel

LITTERBOX MUSIC SERVICES ROBERT ANTHONY Web: www.litterboxmusic.com Iron Mountain NV Services: artistRanch, management, band merch 702-236-3212and more management E-mail: guitar1789@aol.com Web: www.robertanthonymusic.com MAPLE MUSIC BasicVictoria Rate: $30/half-hour, 2450 Park Ave., Ste.$50/hour 300 Toronto, Ontario Canada, M2J 5H3 NEW JERSEY 877-944-5144, 416-961-1040 ACADEMY OF DRUMS & GUITAR E-mail: justcurious@maplemusic.com 589 Fischer Blvd.

Web: www.maplemusic.com Toms River, NJ 08753 BANDMERCH 732-270-8680 3120 W. contact@academyofdrums.com Empire Ave. E-mail: Burbank, CA 91504 Web: www.academyofdrums.com 888-640-9765, 818-736-4800 Contact: Neil Garthly Web: Basicwww.bandmerch.com Rate: lessons start at $25/half-hr.

Clients: all ages MERCHNOW Styles/Specialties: all styles and all levels 888-387-3343, +1-518-458-9563 Web: www.merchnow.com IAN MACAULAY Haddon Township, NJ MERCH MONKEY 856-357-7046 259 Chopin Dr. E-mail: info@ian-macaulay.com Cambridge, ON N3H 1J6, Canada Web: www.ian-macaulay.com, www.myspace. +1 519-219-9006 com/ianmacaulaymusic E-mail: orderdesk@merchmonkey.com Web: www.merchmonkey.com TOP TIER GUITAR STUDIO 177 S. Centre St. Ste. A, 2nd Fl. NIMBIT Merchantville, NJ 08109 47 Mellen St. 609-346-8015 Framingham, MA 01702 E-mail: nick@toptierguitarstudio.com 508-820-8738 Web: www.toptierguitarstudio.com E-mail: marketing@nimbit.com Web: www.nimbit.com

MICHIGAN

283 Hamilton Row IFANZ Birmingham, MI 48009 Inc. McCartney Multimedia, 248-258-9100 322 Culver Blvd., Ste. 124 E-mail: birmingham@axismusic.com Playa Del Rey, CA 90293 E-mail: dischelp@ifanz.com, info@ifanz.com GROSSE POINTE MUSIC ACADEMY Web: www.ifanz.com 19443 Mack Ave. GrosseEXTREME Pointe Park, MI 48230 INDIE 313-458-7723 14090 FM 2920, Ste. G117 Tomball, TX 77377 E-mail: info@grossepointemusicacademy.com 281-890-5034 Fax 281-890-5034 Web: www.grossepointemusicacademy.com E-mail: kathyd@indieextreme.com Basic Rate: call for info Web: www.indieextreme.com Services: AdditionalMerchandise location: fulfillment and distribution 5880 N. Canton Center Rd., Ste. 425 Additional Canton, MI location: E-mail: canton@grossepointemusicacademy.

1507 16th Ave. S. com Nashville, TN 37212 734-418-0640 615-309-1718 Fax 615-309-1718 INDIEMERCHANDISING LLC MINNESOTA 3135 Chester Ave. GIRLS ROCK ROLL RETREAT Cleveland, OH AND 44114-4616 5115 Excelsiorext.

Blvd., #316 800-497-8816 8921 Minneapolis, MN 55416 E-mail: info@indiemerch.com Web: www.indiemerch.com, www.

844-743-7625 indiemerchandising.com, www.indiemerchstore.

E-mail: jenny@girlsrocknrollretreat.com com Web: www.girlsrocknrollretreat.com Services: Tech-based e-commerce provider, Contact: Jenny Case, Program Director merchandise manufacturer, wholesaler and retailer for all areas of music merchandising.

MACPHAIL CENTER FOR MUSIC 501 S. 2nd St. JAK PRINTS MN 55401 Minneapolis, Jakprints, Inc 612-321-0100 Fax 612-321-9740 3133 Chester Ave. E-mail: santucci.marian@macphail.org Cleveland, OH 44114 Web: www.macphail.org 877-246-3132, 216-622-6360

NEVADA

NEW MEXICO

ONE STOP INDIE SHOP GRANDMA’S 64 Dupont St., MUSIC Ste. #2L& SOUND 9310 Coors Brooklyn, NYNW 11222 Albuquerque, NM 87114 866-606-1231 505-292-0341, 800-444-5252 Web: www.onestopindieshop.com E-mail: info@grandmas.com Web: www.grandmas.com PATENT PENDING INDUSTRIES 2315 Western Ave., Ste. 307 Seattle, WA 98121-1636 NEW YORK 206-328-3082 GUITARinfo@patentpendingindustries.com LESSONS NYC-UDI LEVY E-mail: 251 W.www.facebook.com/ 30th St., 3rd Fl. Web: New York, NY 10001 patentpendingindustries 718-684-5150 E-mail: udilevyguitar@gmail.com PICKGUY P.O. 2724 Web:Box www.guitarlessonsnyc.com Riverview, MI 48193 Contact: Udi Levy 734-626-9756 Basic Rate: Call for rates E-mail: info@pickguy.com Web: www.pickguy.com GUITAR LESSONS BROOKLYN-UDI LEVY 170 Parkside Ave. PLATINUM MONARCH DESIGN Brooklyn, NY 11226 P.O. Box 922182 718-684-5150

E-mail: udilevyguitar@gmail.com Sylmar, CA 91392-2182 Web: www.guitarlessonsnyc.com 1-888-889-2630 Contact: Udi Levy Web: Basicwww.platinummonarchdesign.com Rate: Call for rates Services: websites, logos, flyers, cd covers, postcards, t-shirts and more THE COLLECTIVE SCHOOL OF MUSIC 541 Ave. of the Americas PORT MERCH New York, NY 10011 984 Trinity Rd. 212-741-0091 Raleigh, NC 27607 E-mail: info@thecollective.edu 919-713-0078 Web: www.thecollective.edu E-mail: alex@portmerch.com Basic Rate: call for info Web: www.portmerch.com Services: Port Merch is a full service MATT SCHLATTER merchandise Brooklyn, NYcompany providing solutions for bands, artists and record labels.

609-923-1048 E-mail: matt@mattschlatter.com SECOND MOTION ENTERTAINMENT Web: www.mattschlatter.com Raleigh, NC Basic Rate: $30/half an hour, $50/hour E-mail: customerservice@ secondmotionrecords.com NEW YORK CITY GUITAR SCHOOL Web: www.secondmotionrecords.com/ Recording and Rehearsal Arts Building artistmgmt 251 W. 30th St., 11th Fl. NewPROMO York, NY 10001 SMI 646-485-7244 7247 Hayvenhurst Ave., Ste. A-3 E-mail: info@nycguitarschool.com Van Nuys, CA 91406 Web: www.nycguitarschool.com 800-401-4488 Basic Rate: call for info Web: www.smipromo.com YMCA CENTER STICKER JUNKIEFOR THE CREATIVE ARTS 301 W. Bloomfield 9932 Prospect Ave.,St. #134 Rome, NY Santee, CA13440 92071 315-336-3500 619-550-2727 Web: www.ymcatrivalley.org/about-us/ E-mail: customerservice@stickerjunkie.com contact-us Web: www.stickerjunkie.com Basic Rate: call for info Clients: beginner to expert STRANGLEHOLD MERCH 2569 S. Cobb Dr. Smyrna, GAlocations: 30080 Additional 770-435-9966 E-mail: sales@strangleholdmerch.com 701 Seneca St. Web: www.strangleholdmerch.com Oneida, NY 13421 315-363-7788 SUNSHINE DAYDREAM 708 S. Rand Rd. 25 Oxford Road Lake Zurich, ILNY 60047 New Hartford, 13413 847-550-9999 315-797-4787 E-mail: store@sunshinedaydream.biz Web: www.sunshinedaydream.biz

NORTH CAROLINA

THIS IS LOFT TOUGH LOVE MUSIC 660 St., Ste. 929 York N. Church St.212 San Francisco, CA 94110 Greensboro, NC 415-323-3640 336-378-1068 E-mail: darius@thisistoughlove.com Web: www.themusicloft.net Web: Guitarwww.thisistoughlove.com Instructors: Jeff Swanson, 336-3373331; Greg Stentz 336-508-4409; Brad Newell, TOUR CITY, INC. 919-403-5647, Jon Hallman, 336-681-8685 630 Elmwood Ave. Buffalo, NY 14222 WILL RAY 716-893-2900 Fax 716-893-0278 Asheville, NC E-mail: contact@tourcitymerch.com 828-296-0107 Web: www.tourcitymerch.com E-mail: will@willray.biz Web: www.willray.biz Basic Rate: hrs.

CD / $75/hr., VINYL /$100/1.5 DVD DUPLICATION Clients: intermediate to professional Styles/Specialties: country, blues, roots ALABAMA Notes: Currently play with the Hellecasters, CAM VIDEO PRODUCTIONS have instructional DVDs and have monthly 412 MaininSt. column Guitar Player magazine, can do Trussville, AL 35173 lessons online.

205-655-0829 E-mail: info@camvideoproductions.com Web: OHIOwww.camvideoproductions.com Services: CD and DVD duplication as well as BRECKSVILLE SCHOOL OF MUSIC taping and authoring 8865 Brecksville Rd. to DVD and CD. Brecksville, OH 44141 CINRAM 440-526-9350 4905 Mill Rd. Web:Moores www.brecksvillemusicstudio.com Huntsville, ALcall 35811 Basic Rate: for info 256-859-9042 E-mail: JAMESinfo@cinram.com FLOOD GUITAR LESSONS Web: www.cinram.com 1508 Belle Ave.

Lakewood, OH 44107 Services: manufacturing, packaging, 216-224-8578 distribution E-mail: jflood@thesacredarts.org Web: www.jamesfloodguitar.com DISCOUNT DUPLICATION Styles/Specialties: basic and classical guitar 240 Oxmoor Ste.info 102 Basic Rate: Cir., call for Birmingham, AL 35209 205-942-9460 Additional locations: Web: www.discountdub.com Services: video duplication, dvd duplication, Pepper Pike video transfer at discount 30500conversion, Fairmount film Blvd. prices, quality and fast service Pepperhighest Pike, OH 44124 HOLT AVGreen Rd. 1519 S. 401 28th St. S.OH 44121 South Euclid, Birmingham, AL 35233 800-322-4658, 205-328-5231 MOTTER’S MUSIC HOUSE, INC. E-mail: info@holtav.com 5228 Mayfield Rd. Web: www.holtav.com Lyndhurst,duplication OH 44124 and transfer services Services: 440-442-7470 Fax 440-461-3631 E-mail: mottersmusic@hotmail.com NHOUSE DIGITAL MEDIA Web:Heritage www.mottersmusic.com 1530 Place Dr. Basic Rate: $16/half-hr.

Irondale, AL 35210 205-226-2222, 205-706-7163 Additional location: E-mail: customerservice@nhousedigital.com Web: www.nhousedigital.com 4242 Boardman Canfield Rd. Canfield, OH 44406 ALASKA 330-533-3600 ACTION VIDEO PRODUCTIONS SKYLINE 430 W. 7th MUSIC Ave., Ste. 100 27010 Center Anchorage, AKRidge 99501Rd. Westlake, OHFax 44145 907-277-8115 907-274-5287 440-871-4140 E-mail: actvid@alaska.net E-mail: skyline@skylinemusic.com Web: www.actvid.com Services: copy/duplicate just about any audio/ Web: www.skylinemusic.com video Basicformat Rate: call for info

ARIZONA OREGON

DISC2DAY MANSELLES MUSIC SHOP 2113 48th Ste. 103 4808 S. S.E. InaSt., Ave. Tempe, AZ 85282 Milwaukie, OR 97267 602-438-4848, 503-659-9817 800-951-3707 E-mail: E-mail: robert@disc2day.com sales@mansellesmusic.com Web: Web: www.disc2day.com www.mansellesmusic.com Services: CD/DVD and replication Basic Rate: call forduplication info PROACTION MEDIACENTER NEWBERG MUSIC 610 Rd., #2 514 E. E. Bell 1st St. Phoenix, AZ 85022 Newberg, OR 877-593-4261, 503-537-2196 602-277-2011 Fax 602-277-2021 E-mail: newbergmusic@newbergmusiccenter.

Web: com www.proactionmedia.com, www. ondemand.proactionmedia.com Web: www.newbergmusiccenter.com Services: Professionally managed or onBasic Rate: call for info demand DIY CD, DVD and USB low volume duplication and high volume replication services, including professional custom print PENNSYLVANIA for single or multiple disc complete packaging.

CLASSICAL GUITARasSTORE, Order online anytime low as 1THE Complete 2038 St. Package on our OnDemand CD in Sansom Jewel Case Philadelphia, PA 19103 site or call for Higher volumes. Quick turns or 215-567-2972 complex projects.

E-mail: info@classicalguitarstore.com Web: www.classicalguitarstore.com US DIGITAL MEDIA Basic Rate: for info 1929 W. Lonecall Cactus Dr. Clients: Phoenix, all AZlevels 85027 Styles/Specialties: classical, folk, blues, rock 623-587-4900, 877-992-3766 and jazz playing styles E-mail: reseller@usdigitalmedia.com Web: www.usdigitalmedia.com Services: CD/DVD duplication and replication SOUTH CAROLINA JIM HICKEY MUSIC 377 Rubin Center Dr. #118 ARKANSAS Fort Mill, SC 29708 CANTRELL VIDEO 704-620-5418 5919 H St. E-mail: jim@jimhickeymusic.com Little AR 72205 Web:Rock, www.jimhickeymusic.com 501-664-2215 E-mail: info@cantrellvideo.com Web: www.cantrellvideo.com TENNESSEE Services: CD/DVD authoring, transfer, COTTON MUSIC duplication 434 Houston St., Ste. 131

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Directory of Guitar/Bass Instructors & Services Nashville, TN 37203 615-383-8947 Fax 615-383-9932 E-mail: guitars@cottenmusic.com Web: www.cottenmusic.com Basic Rate: call for info

Houston, TX 77024 713-365-9154 E-mail: info@abcschoolofmusic.com Web: www.abcschoolofmusic.com Basic Rate: call for info

GARY TALLEY 620 W. End Cir. Franklin, TN 37064 615-370-4760 Fax 615-370-4760 E-mail: gary@garytalley.com Web: www.garytalley.com Basic Rate: call for info

AUSTIN GUITAR SCHOOL 5501 N. Lamar, Ste. A111 Austin, TX 78751 512-442-2880 E-mail: ags@austinguitarschool.com Web: www.austinguitarschool.com Basic Rate: call for info

GENE FORD MUSIC 330 Franklin Rd. Brentwood, TN 37027 615-371-1661 E-mail: geneford@genefordmusic.com Web: www.genefordmusic.com Basic Rate: call for info

DALLAS/MUSIC 3415 Milton Dallas, TX 75205 214-363-4980 E-mail: notes@dallas-music.net Web: www.dallas-music.net Basic Rate: call for info

GUITAR SCHOOL OF NASHVILLE Nashville, TN E-mail: janet.mclaughlin3@gmail.com Web: www.guitarschoolofnashville.com Basic Rate: call for info

DALLAS SCHOOL OF MUSIC, INC., THE 14376 Proton Rd. Dallas, TX 75244 972-380-8050 E-mail: help@dsminfo.com Web: www.dsminfo.com Basic Rate: call for info

JAN WILLIAMS SCHOOL OF MUSIC AND THEATRE 500 Wilson Pike Cir., Ste. 104 Brentwood, TN 37027 615-371-8086 Fax 615-371-8637 E-mail: jwsm88@bellsouth.net Web: www.janwilliamsmusic.com Basic Rate: call for info Services: piano, voice, guitar, percussion, Rising Stars, Kindermusik, and Musical Theatre JONATHAN FLETCHER MUSIC 144 N. Lowry St. Smyrna, TN 37167 615-459-3133 E-mail: support@jonathanfletchermusic.com Web: www.jonathanfletchermusic.com Basic Rate: call for info KASPER HOME MUSIC STUDIOS 927 Battlefield Dr. Nashville, TN 37204 615-383-8516 Web: www.kaspermusic.com Basic Rate: call for info MARK’S MUSIC GROUP 805 14th Ave. S. Nashville, TN 37203 618-288-1993 ߐWeb: www.facebook.com/marksmusic Basic Rate: call for infoߐ Clients: all levels / SKYPE lessons Styles/Specialties: all styles MIKE HUTCHENS 6421 Lansing Dr. Nashville, TN 37209 615-356-7467, 615-969-2244 E-mail: mike.hutchens@comcast.net Web: www.guitarlessonswithmikehutchens. com Basic Rate: call for info MOBILE MUSIC ACADEMY LLC P.O. Box 140817 Nashville, TN 37214 615-301-8589 E-mail: info@mobilemusicacademy.com Web: www.mobilemusicacademy.com Contact: Jonathan Gaertner Basic Rate: depends on area Clients: all ages Styles/Specialties: most styles and specialties NASHVILLE JAZZ WORKSHOP 1319 Adams St. Nashville, TN 37208 615-242-JAZZ (5299) E-mail: info@nashvillejazz.org Web: www.nashvillejazz.org Basic Rate: call for info NASHVILLE SCHOOL OF THE ARTS 1250 Foster Ave. Nashville, TN 37210 615-291-6600 E-mail: gregory.stewart@mnps.org Web: nsahs@mnps.org Basic Rate: call for info SHUFF’S MUSIC 118 3rd Ave. N. Franklin, TN 37064 615-790-6139 E-mail: sasha@shuffsmusic.com Web: www.shuffsmusic.com Basic Rate: call for info

GIRL GUITAR AUSTIN Austin, TX 512-709-4558 E-mail: Mandy@girlguitaraustin.com Web: www.GirlGuitarAustin.com Basic Rate: $150 for 6-week class Clients: women 21 and up Styles/Specialities: performance-based women’s guitar and songwriting classes with a glass of wine JOE THE GUITARMAN Xena Studios Dallas 2506 Montalba Ave. Dallas, TX 75228-2622 E-mail: joe@joetheguitarman.com Web: www.joetheguitarman.com Basic Rate: $60/hr.

Clients: all levels Styles/Specialties: all styles LONESTAR SCHOOL OF MUSIC 4301 W. William Cannon Dr. Austin, TX 78749 512-712-5187 E-mail: arbortrails@lonestarschoolofmusic. com Web: www.lonestarschoolofmusic.com Basic Rate: call for info MIKE ELLIS MUSIC INSTRUCTIONS 9450 Skillman St., Ste. 101 Dallas, TX 75238 469-855-6865 E-mail: comments@ellismusiclessons.com Web: www.ellismusiclessons.com Basic Rate: $25/half-hr., paid monthly Styles/Specialties: all styles

ABC SCHOOL OF MUSIC 9183 Katy Fwy., Ste. 100

musicconnection.com

BOWLING MUSIC STUDIOS 7217 Chico Way N.W. Bremerton, WA 98312 360-692-7419 Web: www.bowlingmusicstudios.com Basic Rate: call for info METER MUSIC SCHOOL 2110 E. Union St. Seattle, WA 98122 206-792-9039 E-mail: frontdesk@metermusicschool.com Web: www.metermusicschool.com Basic Rate: $35/half-hr., group lessons are $20/hr.

MUSIC WORKS NORTHWEST 1331 118th Ave. S.E., Ste. 400 Bellevue, WA 98005 425-644-0988 Fax 425-644-0989 E-mail: registration@musicworksnw.org Web: www.musicworksnw.org Basic Rate: call for info ROB HAMPTON Heartwood Guitar 206-799-6415 E-mail: rob@heartwoodguitar.com Web: www.heartwoodguitar.com Basic Rate: call for info SEATTLE DRUM SCHOOL 12510 15th Ave. N.E. Seattle, WA 98125 206-364-8815 E-mail: info@seattledrumschool.com Web: www.seattledrumschool.com Basic Rate: call for info Additional location: 1010 S. Bailey Seattle, WA 98108 206-763-9700

WEST VIRGINIA GORBY’S MUSIC, INC. 214 7th Ave. S. Charleston, WV 25303 304-744-9452, 800-642-3070 E-mail: info@gorbysmusic.com Web: www.gorbysmusic.com Basic Rate: call for info

WISCONSIN KIRK TATNALL GUITAR INSTRUCTION 7611 Harwood Ave., Ste. G Wauwatosa, WI 53213 414-395-KIRK (5475) Web: www.kirktatnall.com MILWAUKEE GUITAR LESSONS 4868 S. 69th St. Greenfield, WI 53220 414-731-6393 Web: www.milwaukeeguitarlessons.com

BASS INSTRUCTORS & SERVICES

SOUTH AUSTIN MUSIC 1402 S. Lamar Blvd.

Austin, TX 78704 512-448-4992 E-mail: southaustinmusic@gmail.com Web: www.southaustinmusic.com Basic Rate: call for info

GUITAR CENTER *See guitar listing for info

TEMPO SCHOOL OF MUSIC, LLC 13505 Westheimer Rd. Houston, TX 77077 281-293-8880 Web: www.temposchoolofmusic.com Basic Rate: call for info

ARIZONA MUSIC ACADEMY 1700 E. Elliot Rd., Ste. 11 Tempe, AZ 85284 480-705-0875 Web: www.arizonamusicacademy.com

TRADITION GUITARS 109 Blackjack Ln. Burleson, TX 76028 888-361-5838, 817-923-6300 E-mail: patty@traditionguitars.com Web: www.traditionguitars.com

VIRGINIA

MURPHY METHOD, THE P.O. Box 2498 Winchester, VA 22604 800-227-2357 E-mail: info@murphymethod.com Web: www.murphymethod.com Basic Rate: call for info

WASHINGTON

TEXAS

58 April 2015

FRISCO SCHOOL OF MUSIC 9255 Preston Rd. Frisco, TX 75034 214-436-4058 E-mail: music@friscoschoolofmusic.com Web: www.friscoschoolofmusic.com Basic Rate: call for info

Bellevue, WA 98005 425-401-8486 Web: www.bellevueschoolofmusic.com Basic Rate: call for info

BELLEVUE SCHOOL OF MUSIC 2237 140th Ave. N.E.

NATIONWIDE ARIZONA

TONAL CENTER GUITAR INSTRUCTION 1051 W. University Dr. Tempe, AZ 85281 480-894-3346 E-mail: kurt@tonalcenter.com Web: www.tonalcenter.com Basic Rate: $20-25 per half hour

CALIFORNIA AARON WOLFSON *See guitar listing for info ADAM’S MUSIC *See guitar listing for info AGOURA MUSIC *See guitar listing for info ALHAMBRA SCHOOL OF MUSIC *See guitar listing for info

ALTA LOMA MUSIC *See guitar listing for info AMUSE *See guitar listing for info ANAHEIM HILLS GUITAR AND BASS LESSONS *See guitar listing for info ARCADIA MUSIC CENTER *See guitar listing for info BARKER’S MUSIC *See guitar listing for info BAXTER/NORTHUP MUSIC *See guitar listing for info BOULEVARD MUSIC *See guitar listing for info BUNNY BRUNEL 24310 Moulton Pkwy. #0-178 Laguna Woods, CA 92637 800-300-0950 Carvin-Hollywood, CA Carvin-San Diego, CA E-mail: info@bunnybrunel.com Web: www.bunnybrunel.com Basic Rate: $85/hr.

Clients: all levels Styles/Specialties: all styles Notes: fingering, modes, harmony, improv., bass lines, slap. Also if you have a computer and a broadband Internet service and a camera, lessons are available online. See website for details and check out Bunny’s bass at carvin.com CALIFORNIA VINTAGE GUITAR AND AMP *See guitar listing for info CANOGA SCHOOL OF MUSIC *See guitar listing for info CASSELL’S MUSIC *See guitar listing for info CHARLES MUSIC CENTER *See guitar listing for info COAST MUSIC *See guitar listing for info CORONA MUSIC CENTER 1191-B Magnolia Ave. Corona, CA 92879 951-898-2630 E-mail: info@lahabramusic.com Web: www.lahabramusic.com Basic Rate: call for info Clients: all levels Additional location: 1885 W. La Habra Blvd.

La Habra, CA 562-694-4891 CRAIG BECK *See guitar listing for info CULVER CITY MUSIC CENTER *See guitar listing for info DANA GONZALES *See guitar listing for info DIETZ BROS. MUSIC *See guitar listing for info FAUNT SCHOOL OF CREATIVE MUSIC *See guitar listing for info FRANCESCO DICOSMO Grammy-Winning Bassist-Singer-ComposerProducer AudioVision Digital Media and Music Production 310-908-9006, SKYPE: DiCosmoFone E-mail: dicosmobass@yahoo.com Web: www.FrancescoDicosmo.com Basic Rate: Call for info Clients: All levels Styles/Specialties: Experienced lead singer and bassist in countless professional bands the styles of rock, funk, blues and R&B, bass and vocal technique, breathing and placement of voice ranges, intervalic and rhythmic concepts, chart reading, music theory, ear training, interpretation, improvisation, etc.

Qualifications: Musicians Institute Vocational Honors Graduate and MI Human Relations Award 1994-’95. Grammy-Winning Bassist for Evanescence’s Multiplatinum Fallen Album. Have played with Robert Plant, Chris Poland of Megadeth, Ronnie Montrose, Alex Leigertwood of Santana, Randy Meisner of the Eagles, Jimmy Crespo of Aerosmith, Dweezil Zappa, etc.

Download at musicconnection.com/industry-contacts FULLERTON MUSIC CENTER *See guitar listing for info

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JOHN FLITCRAFT W. Los Angeles, CA 310-985-4571 E-mail: jflitcraft@earthlink.net Web: www.johnflitcraft.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

TONE BOX, INC. *See guitar listing for info

JOHN MENZANO 25809 Parada Dr. Valencia, CA 91355 818-489-0464 E-mail: menzatwork@sbcglobal.net Web: ww.johnmenzano.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles *Notes: Has toured/recorded with Sheena Easton, Dave Koz, Three Dog Night, Brenda Russell, presently with Donny Osmond, Frankie Valli.

VENTURA MUSIC *See guitar listing for info

JOHNNY THOMPSON MUSIC *See guitar listing for info

BROADWAY MUSIC SCHOOL *See guitar listing for info

JOIN THE BAND MUSIC LESSONS STUDIO *See guitar listing for info

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FLESHER-HINTON MUSIC COMPANY *See guitar listing for info

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RUSS RODGERS 70 Upper Rock Cir. #405 Rockville, MD 20850 404-386-0983 E-mail: russrodgers@gmail.com Web: www.russrodgersbassguitar.com

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NEW YORK COLLECTIVE SCHOOL OF MUSIC, THE *See guitar listing for info KEVIN DELANEY 251 W. 30th St., 9th Fl. New York, NY 10001 212-340-1184 E-mail: lessons@shredlikeametalgod.com Web: www.shredlikeametalgod.com, www.kevindelaneymusic.com Basic Rate: Call for info Styles: heavy metal, hard rock, shred RITT HENN Catherdral Station P.O. Box 721 New York, NY 10025 E-mail: ritt@ritthenn.com Web: www.ritthenn.com Clients: all levels, acoustic and electric bass Styles/Specialties: all styles Notes: played with Tom Jones, Chuck Berry and Buddy Rich, though unfortunately not at the same time.

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WISCONSIN SONG CYCLES MUSIC STUDIO *See guitar listing for info For hundreds more contacts from current directories (A&R, managers, agents, everything indie, promotion, publicity, vocal coaches, college radio, recording studios, rehearsal studios, mastering studios, publishers, film/TV and more), visit our website: musicconnection. com/industry-contacts.

SOUTH CAROLINA JIM HICKEY MUSIC *See guitar listing for info

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– MIXERMAN

Your Personal Relationships: Better Choose the Right Partner!

C

hoosing to be a music creator comes with certain, shall we say, pitfalls. While it is tough enough to put in years of hard work, it will be that much harder for you to achieve your goals when you have a mate who is watching the clock, who is impatient with your precarious financial situation and who simply does not share your passion for a music career. No one knows this better than Mixerman, who has weathered plenty of hardscrabble years in the music business. And in the following article–– which is excerpted from his latest book, Zen and the Art of Recording––he dishes some absolutely essential insights and advice to us all...

Further problematic is the stress of operating a business with a robust overhead. Disagreements over money can be traumatic to a relationship. Your mate could very well want to save money in order to soften the blow of the tough times. Good advice if there ever was any. Unfortunately, in order to build a business you must invest in it. Your mate will not likely understand a decision to sink a large chunk of money on a microphone when you’re suddenly flush again, after a month of mac and cheese dinners.

To be perfectly honest, it is far easier to make it in this business when you have a life partner able to bring in a steady income.

You should choose your partner based on love and compatibility, not a W2, and I wouldn’t suggest otherwise. But if you’re purposely putting off marrying that great gal or guy because you first want to be in a financial position to do so, you’re ignoring the fact that you’ll likely find yourself in similarly hard times in the future.

That said, partnership with someone who is unable to deal with the difficult times in this business will result in one of two possibilities.

Either you’ll be out of the business completely, working a job you hate in order to keep your marriage together, or you’ll be divorced. Possibly both. Life balance issues will put a constant strain on your relationship, even with the most understanding of mates.

This is not the kind of job that allows for balance when it comes to your personal life. Statistically speaking, it’s a business that’s fraught with waves of feast or famine, and you will often have more work than you can handle one month, followed by an empty studio the next— the very definition of feast or famine. There very well could be times in your life when work is steady and dependable. I have experienced those times. Unfortunately, periods of feast can be just as detrimental to the well-being of a relationship as spans of famine.

When you’re working, your absence will breed resentment. When you’re not working, your lack of income will breed resentment. Life balance in this business is not achieved in the short run, but rather over the long haul, and I’m not sure we can reasonably call that balance, since you will somehow manage to foment resentment regardless of whether you’re working or not.

take some personal time off. This can be counter to your business needs.

Time off is the kiss of death in this industry.

I know—I took an entire year off in the ‘90s to spend time with my newborn son, and I virtually killed my career in the process. Not that I’d do anything differently in that regard, but it did take some time to rebuild.

Far be it for me to give anyone relationship advice. Believe me, as someone who views my purpose in life as a creator of art, I’ve failed with marked predictability in my relationships. But then that’s the point. I’m not suggesting you can’t have a loving and fruitful relationship that lasts a lifetime. That depends completely on the personalities of both you and your partner. What I’m saying is that you must have a mate that is fully supportive and understanding of what’s at stake, and I’m not sure that explaining it is sufficient.

Let me put it this way: If you can figure out how to maintain a healthy personal and love life as you operate in this business, you should write a book about it, as I have yet to figure it out myself.

Whether self-inflicted, or out of pure happenstance, the difficult times in this business will come. If you rest on your laurels, as if your run of success will never end, you could be in a world of hurt, both financially and personally.

It’s tough to enjoy your time off when you’re dealing with a mate pissed off that you’re broke, as you personally deal with feelings of failure and inadequacy. Negative thoughts are destructive in nature, and often include concerns of permanence. I have wondered countless times in my career whether I’ve made my last record. I don’t care who you are, when you’re not working, your confidence will suffer.

Therefore, vigilance is a necessity, and you must at all times adjust your position as it relates to the business.

“You must have a mate that is fully supportive and understanding of what’s at stake.”

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Mates who have never built a business often can’t truly comprehend what’s needed to keep it growing, and your expenditures could be viewed as nothing more than personal whims, rather than necessary investments that will allow you to compete. That said, cash flow problems are certainly not unique to this business.

It’s your dedication and discipline that could prove the real downfall to your relationship.

Here’s the painful reality. If you’re the kind of person who is so passionate about making music that you refuse to do anything else, your career becomes your first loyalty, which by definition would place your mate as second. A close second, but second nonetheless. This is often problematic to a good relationship.

When you’re driven to create, you’re coming from a different mindset from most, and conventional relationships don’t typically survive the rather unconventional lifestyle of a recording professional. Even a mate who admires your drive and creations will feel the resentment of playing second fiddle, and money doesn’t tend to solve this problem. On those occasions when money comes to you in great abundance, you could find yourself pressured by your mate to

ERIC SARAFIN aka Mixerman is a Los Angeles-based mixer and producer whose credits include: the Pharcyde, Ben Harper, Barenaked Ladies, Pete Murray and Foreigner. Sarafin is also an author, well known for his popular web-postings-turned-book, titled The Daily Adventures of Mixerman, and his ongoing Zen series of books, including Zen and the Art of Mixing, Producing, and Recording. His most recent book, Zen and the Art of Recording, is available at amazon.com/Mixerman/e/B001QV42EW

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