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www.focusrite.com/itrack-pocket * Approved by Apple, so you can connect to any Lightning compatible iPhone with the Lightning cable (included). Officially supports iPhone 5, iPhone 5C and iPhone 5S.
CONTENTS 40
Informing Music People Since 1977 $ECEMBER s 6OL s .O
Steve Aoki
MC speaks with the uber-entreprenurial Aoki about not only his successes as a recording artist and DJ, but we get to the root philosophy and driving strategy behind his burgeoning EDM empire, which includes an indie label, events/lifestyle company and apparel line.
By Daniel Siwek
56 Our Favorite
Signing Stories of 2014
Compiled By Mark Nardone
Photos: Brian Ziff (Cover) and Neil Favila
75 Tips: The Best Career Advice of the Year
44
Straight from the lips of the artists and industry pros we spoke to in 2014.
Compiled By Andy Mesecher
Hot 100 36 Live Unsigned Artists & Bands
Compiled By Bernard Baur, Mark Nardone, Liza Cano
Departments 08. Close Up 09. Assignments 10. New Toys 18. Book Store 20. Up Close 22. Studio Mix 27. Business Affairs 30. Song Biz 34. FilmsTVsTheater 38. Mixed Notes
Reviews 61. Album Reviews 62. Live Reviews
TOP 25 52 New Music Critiques Compiled By Andy Mesecher
14. Stocking Stuffers: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Barry Rudolph 16. Gifts Under A Grand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Mesecher 24. Producer Crosstalk: Tamara Saviano . . . . . . . . . . . . . . . . . . . . . .By Rob Putnam 26. Exec Profile: Rick Farman, Superfly Presents. . . . . . . . . . . . . By Andy Kaufmann 32. Songwriter Profile: Da Internz . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 60. Video Tips: Improve Your Audio for Video, Pt. 2 . . . . . . . . . . . . . By Fred Ginsberg 70. Tip Jar: DJs––How to Retain Your Style . . . . . . . . . . . . . . . . . . . By Scott Binder 4
December 2014
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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.
E. Eric Bettelli PUBLISHER E. Eric Bettelli Mark Nardone GENERAL MANAGER / ADVERTISING DIRECTOR ericb@musicconnection.com
ASSOCIATE PUBLISHER / SENIOR EDITOR markn@musicconnection.com
Denise Coso John Curry OPERATIONS MANAGER / DIRECTORIES EDITOR denisec@musicconnection.com
ART DIRECTOR artdirector@musicconnection.com
Andy Mesecher
Steve Sattler
ASSOCIATE EDITOR
BUSINESS DEVELOPMENT MANAGER
Barry Rudolph
steve@creativesalesresource.com
Ray Holt DIRECTOR OF DIGITAL MARKETING
andym@musicconnection.com
NEW TOYS barry@barryrudolph.com
Bernard Baur CONTRIBUTING EDITOR
rayh@musicconnection.com
bbatmc@aol.com
Siri Svay
Dan Kimpel
SOCIAL MEDIA MANAGER sirimusicconnection@gmail.com
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
Liza Cano intern@musicconnection.com Austin Wood intern@musicconnection.com CONTRIBUTING WRITERS Carl Anthony, Allegra Azzopardi, Bernard Baur, Danica Bellini, Brett Bush, Jeannie Deva, Gary Graff, Eric A. Harabadian, Corey Irwin, Ted Jamison, Andy Kaufmann, 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, Corey Irwin, Apple Kaufmann, David Klein, Tony Landa, Dave Long, Thomas Long, Jessica Pace, Victoria Patneaude, Scott Perham, Rob Putnam, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Vincent Stevens, Brian Stewart, Siri Svay, E. H. E. Tiernan, H. Tiernan, PaulaPaula Tripodi, Tripodi, Brooke Brooke Trout,Trout, AlbertAlbert Vega,Vega, EllenEllen Woloshin 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 2014 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / michael@jmichaeldolan.com
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THE BOLD SHAPE OF PERFORMANCE
M U LT I P U R P O S E S E L F - P O W E R E D S O U N D R E I N F O R C E M E N T
More than just another great JBL sound system, the new EON615 is a true step forward in technology developed specifically to deliver the best sound possible regardless of its application. Completely rethinking how truly good an affordable selfcontained, portable PA system can be, JBL engineers purposely designed and built the EON615 from the ground up featuring JBL’s advanced waveguide technology, JBL designed and manufactured transducers, and convenient, wireless remote control of its onboard DSP EQ parameters via Bluetooth. This total redesign of the EON platform leverages the latest technologies in cabinet materials, acoustic science, transducer design and user friendliness that delivers the extraordinary quality of a high-end studio monitor in a fully professional, highly flexible, easy to use, portable system for today’s working musicians and sound providers.
REVOLUTIONARY WAVEGUIDES The EON615’s extraordinary performance results from a breakthrough approach to waveguide design for both high frequency and low frequency components. The result is consistent HF and LF response and high intelligibility throughout its entire 90 degree coverage pattern. These characteristics are the foundation of high-end studio monitor sound, now available for the first time in a portable, affordable system.
BLUETOOTH CONTROL
PURPOSEFUL DESIGN
© 2014 HARMAN INTERNATIONAL INDUSTRIES, INCORPORATED
Learn more at jblpro.com/EON600 TYPICAL EON615
FLEXIBLE BACK PANEL
DOWNTOWN REHEARSAL 323-263-7381
By Jonathan Widran Premier Downtown Lockout Facility For 25 Years: In 1989, aspiring musician, manager and Musicians Institute grad Greg Koch—fed up with the poor state of the existing facilities in Los Angeles—opened 24-hour lockout rehearsal studios on Santa Fe Avenue in Downtown that featured operating windows and downtown views. Downtown Rehearsal started on two floors of a building (approximately 20,000 feet) before Koch added a third floor in 1991 to expand to 62 studios. Many renowned bands from the vibrant ‘90s local rock scene, including Blind Melon, Fishbone, Fear Factory, Static-X, Spineshank, Electric Love Hogs, the Melvins, Goatsnake, Macy Gray, Goldfinger and Face to Face have used Downtown Rehearsal’s studio space. The rooms range in size from 17 ft. x 21 ft. to 20 ft. x40 ft.; General Manager Mike Daugherty says that “the average four-piece
band can be comfortable in an 18 ft. x18 ft. space.” Expansion and Growing Popularity: In 1999, Downtown Rehearsal opened a second location on 7th Street near the L.A. River. By 2001, it had 212 rooms—and a few years ago, the facility took over another part of its building to add eight larger size rooms, for a total of 220. This second location features drum rooms as small as 6 ft. x 12 ft. to large rehearsal studios up to 25 ft. x 25 ft. and 20 ft. x 40 ft. Though most of its business has traditionally been lockout rehearsal, Downtown Rehearsal also has several studios that are set up for recording, with a window to separate tracking from recording. The Lockout ‘Lockout’: The word of mouth success of Downtown Rehearsal ensures that the facility is always full and maintains a waiting list for new bands interested in locking out. Practical amenities include gated parking, freight elevators to move equipment and CCTV security. All rooms come with carpeted floor, two carpeted walls, ceiling fan, sound baffles, phone jack and operating windows or forced air ventilation for interior studios. Daugherty says, “Most people say what sets us apart is studios with a view, fresh air and high ceilings. We can rent PA’s on demand, but we have found that most bands prefer to use their own equipment.” Contact Downtown Rehearsal, Mike: 213-627-8863, Santa Fe Ave. Location; Chris: 323-263-7381, 7th St. Location 8
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Scott Maness
Amanda Prenevost
Def Jam Recordings, a division of Universal Music Group (UMG), has promoted Scott Maness to Vice President, Rhythm Crossover Promotion. In his new post, Maness will strategize the national release of records at Rhythm Crossover radio and will work closely with the regional Promotion staff to collectively execute successful national campaigns. He will also work in partnership with his Promotion counterparts at Urban and Pop radio to ensure success in developing and breaking new artists into the marketplace. Maness is a six-year veteran of the Def Jam Promotion Department, having served as Senior Director since 2008. For further information, contact renata.muniz@umusic.com.
Round Hill Music has announced the addition of Amanda Prenevost to its Nashville team as Manager of Administration. Prenevost joins Round Hill from Warner/Chappell Music in Los Angeles. She is a graduate of Minnesota’s McNally Smith College of Music where she studied Music Business. Post graduation, Prenevost worked as an executive assistant at Heaven Productions Music in Los Angeles. She began her publishing career at Bug Music (now BMG Rights Management) dealing with counterclaim resolution and foreign affiliate relations. Following Bug Music, Prenevost joined Warner/ Chappell Music where she specialized in Pre-1978 copyright research. Contact anna@golightlymedia.com.
Lauren Branson
Michael Frey
Lauren Branson has been named Director, Public Relations at Broadcast Music, Inc. (BMI). In this role, she will be responsible for creating and implementing the public relations strategies for many of the company’s wholly owned and sponsored songwriter-based events, including BMI’s Country and Christian Awards shows, BMI No. 1 Parties, Austin City Limits Festival, LouFest, SXSW and the Key West Songwriter’s Festival. Branson will report to Robbin Ahrold, BMI Senior Advisor, interim head of BMI’s Corporate Communications and Marketing department. She will also work closely with Jody Williams, BMI Vice President, Writer-Publisher Relations. Branson is based in BMI’s Nashville office. Contact jwalker@bmi.com.
Universal Music Group (UMG) has named Michael Frey, President, Supply Chain & Media Services. Frey will oversee UMG’s global digital and physical supply chains, production/logistics and asset management. Frey joined Sony Corporation of America in 2004 and was named its President of New Media Solutions in 2010. Frey served as the Senior Vice President of Supply Chain Operations for Technicolor from 2002 to 2004, overseeing operations of the company’s Home Entertainment Services Division. Prior to joining Technicolor, Frey was the Senior Vice President, Customer Fulfillment Operations and iMusic for EMI Music Distribution. For more information, contact Annie. Imamura@umusic.com.
Rob Caiaffa
Russ Jones
Def Jam Recordings, a division of Universal Music Group (UMG), has promoted Rob Caiaffa to Vice President, Marketing, Def Jam Recordings. Caiaffa will be responsible for the creation, development and execution of marketing strategies on behalf of a select roster of Def Jam artists. He has served as Senior Director, Marketing & Development at Def Jam since 2011, overseeing initiatives on behalf of an artist roster including Jeezy, Ludacris, 2 Chainz, YG, August Alsina, Big K.R.I.T., Lil Durk, Jadakiss and Big Sean. Caiaffa began his career in music in New York as a Marketing Coordinator at Interscope Records in 2000. Contact renata.muniz@ umusic.com for further details.
Russ Jones has been promoted to Vice President, Video Network Relations & Branding, RCA Records. He previously held the title of Vice President, Promotion & Lifestyle Marketing. In his new role, Jones will be responsible for all video promotion and branding campaigns for RCA across all video network outlets. He will also work closely with the Global Brand Partnerships department. Jones will report to Joe Riccitelli, EVP, Promotion/GM, RCA Records and Geo Bivins, SVP, Urban Promotion, RCA Records/GM, RCA Inspiration and will remain in the New York headquarters. Contact Meghan Kehoe at Meghan.Kehoe@rcarecords.com for more information on this appointment.
Josh Saxe
Dan Ghosh-Roy
Josh Saxe has joined Round Hill Music as Associate Director of A&R. Saxe is a graduate of Belmont University’s Curb College where he studied Music Business with a concentration in Music Publishing. Post graduation, Saxe joined BMG Chrysalis Nashville where he was involved in managing the company’s song catalog data, as well as helping streamline the system of song delivery. Saxe is co-chair on the Leadership Council of Young Entertainment Professionals (YEP), Nashville’s fastest growing young professionals network. Saxe has also been instrumental in managing the talent selection for numerous writer showcases with both Belmont and YEP. Email Anna Stodart, anna@golightlymedia.com, for additional info.
PledgeMusic has appointed Dan Ghosh-Roy to Head of Marketing & Digital Strategy, based in N.Y.C. GhoshRoy brings a wealth of experience, knowledge and a vast network of industry relationships to PledgeMusic as they look to further leverage their unique marketplace to create even more opportunity and value for artists, labels and brands in music. In his new role, Ghosh-Roy will oversee all global marketing initiatives. He will be spearheading PledgeMusic’s artist roundtable program by meeting with members of the PledgeMusic Artist Community and helping them to craft best in class campaigns both on and off the PledgeMusic platform. Contact alison@thepresshouse.com.
VP, Rhythm Crossover Promotion Def Jam Recordings
Director, Public Relations BMI
Vice President, Marketing Def Jam Recordings
Associate Director of A&R Round Hill Music
Manager of Administration Round Hill Music
President, Supply Chain & Media Services Universal Music Group
VP, Video Network Relations & Branding RCA Records
Head of Marketing & Digital Strategy PledgeMusic
December 2014
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– BARRY RUDOLPH barry@barryrudolph.com
GENELEC 8351 ACTIVE MONITOR Genelec’s new three-way 8351 monitors use their Smart Active Monitor™ technology to create nearperfect, near-field monitoring for recording and mixing studios. Near-field monitoring is the most used monitor speaker set up these days—especially in project studios and small post-production edit bays. At the recent AES Show, I was impressed by the sound of these monitors—they filled a large conference room with realistic sound, precise stereo imaging and solid bass. The 8351s measure 17.75 in. x 11.25 in. x 11 in. and feature a coaxial midrange/tweeter driver mounted in the center of a Directivity Control Waveguide™. Most striking are two, oval-shaped Acoustically Concealed Woofers™ mounted behind the coaxial driver’s waveguide. This woofer/waveguide/driver configuration produces a single three-way coaxial enclosure with similar directivity characteristics whether the monitor is oriented vertically or horizontally. This feature is huge for project studios when vertically positioned monitors on top of the console meter bridge might interfere with visibility out to the studio. This system delivers 110dB SPL at 1 meter using two Genelec Class-D amplifiers, 150 watts for bass and 120 watts for mid-range and with a third, all-discrete 90-watt class-AB amplifier for the tweeter. System frequency response is specified at 32Hz to 40kHz (-6dB). http://genelecusa.com
CHARVEL PRO MOD SUPER STOCK SPECIAL Charvel has the new Pro Mod Series Super Stock SD1 FR Special Edition, a limited-run Super Stock SD1 FR with an iridescent Sunset Orange Flake gloss finish. Built for the hardest of Rock music, the classic San Dimas® body features a quarter-sawn maple neck with an oil finish and Pro Mod profile together with a fast and smooth compoundradius maple fingerboard and 22 jumbo frets. It comes standard with a top-mount Floyd Rose® FRTO1000 double-locking tremolo bridge and locking nut plus non-locking Charvel tuners. Electrics include Seymour Duncan® ‘59 (neck) and JB™ (bridge) humbucking pickups with cream bezels, three position chrome-tip toggle pickup switch and a single knurled master volume control. http://charvelguitars.com
NEUMANN U 47 FET RE-ISSUE Originally produced as the transistorized successor to the classic Neumann tube U 47, the U 47 fet allowed for recording high sound pressure levels directly in front of loud drums and guitar amps. Neumann has reissued their Collectors Edition U 47 fet made according to the original production documents and schematics. The Collectors Edition is supplied with a high-quality wooden case with special packaging and an individual certificate noting the serial number of the microphone. The U 47 fet is a cardioid condenser microphone with the same fet 80 circuit technology as used in Neumann’s U 87. Also as in the original microphone, the K 47 capsule (also from the tube U 47) is used—it’s a double large-diaphragm capsule with a slight boost in the range above 2 kHz. All the same features of the original model are kept: a switchable low-cut 40 to 140 Hz filter, a switchable -10 dB capsule attenuator, and also a switchable -6dB output attenuator. The U 47 fet is a beauty and it comes in classic nickel and sells for $3,999.95 MSRP. http://u47fet.neumann.com
AVID PRO TOOLS S3 DESKTOP CONTROL SURFACE The compact Pro Tools® S3 is perfectly sized for project music studios and smaller post mixing/editing bays. The S3 features tight integration with Pro Tools software as well as control over other EUCON-enabled digital audio workstations such as Logic Pro X and Steinberg’s Cubase. The S3 borrows the look and style of the smaller Artist Series control surfaces but has 16 channel strips with touch-sensitive motor faders. Besides the 16 channel meters, there are 32 rotary controllers with LEDs and 32 high-resolution OLEDs for viewing parameters, track names/numbers, automation modes and more. I like the Touch strip for easy access to transport controls, plus the many dedicated buttons and switches for navigation, automation and control assignment in Pro Tools. The S3 combines a traditional console layout with big time savers like custom and recallable channel layouts and “on-the-fly” switching between applications. With 2 XLR mic/line inputs, 2 TRS and 2 XLR line outputs and a stereo headphone output jack, the S3 sells for $4,999 MSRP and represents the trend in affordable pro-level controllers for mixers. http://avid.com/US/products/protoolsS3/overview 10 December 2014
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– BARRY RUDOLPH barry@barryrudolph.com
SAMPLE TOOLS BY CR2 SOUND OF TECHNO The 4th collection from Sample Tools by Cr2 is titled Sound of Techno. This is a very useful and essential library of dark techno samples and loops for music producers. Created by Italian producer Michele Russi, his EDM influences run from Detroit techno, minimal dub techno over to some darker Berlin sounds. I downloaded this 740MB pack and found 132 excellent drum hits—kicks, snares, claps, percussion bits and hi-hats. Included are loops that hit 127BPM for 2 measures each, and a good collection of effects and synth shots—mostly sweeps and builds. I especially like the Song Starters folder—great loop construction kits that will evoke many songwriting ideas. A lot of the darkness in this collection comes from the fat sounding synth bass loops and synth loops folders. Both collections also include MIDI files if you want to make tweaks. All audio files are 44.1kHz/24-bit and the collection finishes with a folder of 20 Massive presets. A great collection that is well titled making them easy to fluff and fold into your musical “stew,” Sample Tools by Cr2 Sound of Techno sells for $19.99. Buy and download them from http://sounds.beatport.com/pack/sound-oftechno/8047. http://cr2records.com
FENDER PIHA’EA SOPRANO UKULELE Piha’ea is the Hawaiian word for playful. Just looking at this soprano-style uke definitely brings a smile to my face and any player will smile right from the first chord played. The Fender Piha’ea features an all-mahogany body, black neck and body binding, rosewood bridge, and Fender headstock with open-gear tuners. For a limited time, the Piha’ea Soprano model is available in an all-natural finish or a version with a red screen graphic of a beautiful hula girl. The Fender Piha’ea Soprano Ukulele sells for $79.95 MSRP. http://fender.com.
SABIAN 13-INCH JOJO MAYER HOOP CRASHER First Introduced as a 14-inch model, the 13-inch Hoop Crasher cymbal has been designed by Jojo Mayer once again and expands the choice for dual-ring effect cymbals. With the Hoop Crasher, you can play the snare drum but not change its sound and bring the Hoop Crasher effect whenever you need it—for subdivisions, for example. Manufactured from a set of premium B20 Bronze hi-hats, the top flotation ring is punched with 32 holes for lightness and lift, while the heavier bottom ring is designed with an X-Celerator Air-Wave lip to eliminate airlock and minimize contact area with the snare drum’s head. Attached by special rounded-head screws, the two rings can be played freely by removing the screws. The Hoop Crasher can be placed loosely on a snare drum, or tightened down with a trio of adjustable tension clamps (included). Adjusting the pressure of the clamps affects sustain, allowing the player to dial in long sounds for dub step tempos or shorter for tight sounds. http://sabian.com
YAMAHA DBR SERIES POWERED PORTABLE LOUDSPEAKERS The newest additions to Yamaha’s portable loudspeaker lineup are the powered DBR Series and the passive CBR Series. The DBR Series come in three sizes defined by woofer size: the DBR10, DBR12 and DBR15 all feature Yamaha’s FIR-X tuning that uses linear phase FIR crossover filters to achieve more accuracy for better clarity and imaging. D-CONTOUR dynamic multi-band processing applies optimized settings for either front-of-house or floor monitoring applications. The DBR’s Class-D amplifiers deliver up to 1,000 watts, achieving a maximum 132 dB SPL via an accurate wide dispersion constantdirectivity horn that projects the DBR’s deep bass, clear midrange and accurate high frequencies throughout a broad coverage area. For floor wedge monitoring use, the DBR also features an optimized 50-degree wedge angle while the symmetrical cabinet shape of the DBR12 and DBR15 allows “mirror-mode” configuration. Each DBR model also includes a 2-channel onboard mixer with a combo jacks for both XLR and TRS phone and either mic or line level inputs. http://4wrd.it/DBR, http://4wrd.it/CBR
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BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs, and more. Barry has his own futuristic music mixing facility 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. http://barryrudolph.com
Stocking Stuffers 2014 BY BARRY RUDOLPH
Apogee + D’Addario Bundle At $99.90, the Apogee + D’Addario bundle includes the Apogee JAM guitar interface for iPad, iPhone and Mac computers, D’Addario’s next-generation NYXL electric guitar strings, and the rugged 10-ft. American Stage guitar cable. These products have a combined value of $122.60 when sold separately. Get it at http://amazon.com/Electric-AccessoryDAddario-Strings-American/dp/B00MV2EW90/barryrudolphrec.
On-Stage TCM9361 On-Stage has their u-mount TCM9361 Snap-On cover for the slimmer iPad® Air. Using an iPad for real work or serious play is easier using this flexible mounting system for attaching it to mic stands, keyboard stands, workstations, drum hardware, and conductor stands. The u-mount works well on exercise equipment, strollers, shopping carts—any situation where you can’t physically hold the iPad. The TCM9163 sells for $49.95 MAP. Check http://onstage stands.com/products/view/10575.
Dial A Ukulele... Ukuleles are so popular these days—who LOFX %JBM " 6LVMFMF $IPSE r %JBM " 1SPHSFTsion from Dr. Duck uses two 8-inch cardstock circles that freely spin to show every ukulele chord at the first position in all 12 keys including the 7ths. Printed in full color on 16 point recycled card stock, UV plastic coated all sides. It sells for $13.95 and is available at http://amazon.com/DIAL-UKULELE-CHORD-x2022-PROGRESSION/dp/ B00NE7V9KQ/barryrudolphrec or order from http:// ducksdeluxe.com.
Soundblox 2 Stingray Multi-filter Source Audio’s Soundblox 2 Stingray Multi-filter has a huge range of envelop filter sounds plus new LFO wave shapes, onboard overdrive/fuzz, improved envelope response, external control options and full MIDI capabilities. The Stingray includes 12 filter effects, including low pass, high pass, phaser, single peak and multi-peak. The Stingray also contains an internal overdrive/ fuzz circuit for moderate coloration all the way to extreme and aggressive fuzzscapes. The Soundblox 2 Stingray Multi-Filter is $169 MAP. See http://sourceaudio.net.
AttachPack
MERRY CHRISTMAS! 14
December 2014 2014 December
musicconnection.com musicconnection.com
AttachPack has a whole line of backpacks that are customizable in so many ways. You can go online and pick a style, color, choose your pockets and layout and then add on clips and pouches—even order an internal bulletproof shield if you need it. You could go with the Henley backpack with a front pocket that can be switched out for a different look any time—it’s like having a new backpack with every pocket switch. Prices start at about $125. Go to http://attachapack.com and start the design process now.
POWER COUPLE.
TouchMix™-16 Compact Digital Mixer
K10 Active Loudspeaker
TouchMix digital mixers and K Series loudspeakers. Each remarkable products in their own right. Together, the combination of performance, versatility, ease of use and of course, genuine QSC reliability, is nothing short of amazing. Want to learn more? Go to QSC.com.
qsc.com Š 2014 QSC Audio Products, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC Audio Products, LLC in the U.S. Patent and Trademark Office and other countries.*Source:MI SalesTrak 2010, 2011,2012,2013. MI SalesTrak is a registered trademark of Marketing Information Services, Inc. in the US Patent office.
December 2014
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15
Gifts Under A Grand 2014 BY ANDY MESECHER
Audio-Technica ATH-M50x A few years ago we touted the Audio-Technica M50s and their 50-year anniversary silver release. Fast-forward to 2014 and you’ve got the ATH-M50x—better ear cups for the closed-back design, a now-detachable cord (sorry, they don’t offer a mic/volume switch edition because remember the M stands for monitor) along with the same specs as its previous edition (45-mm driver producing a frequency range from 15Hz to 28kHz). The ATH-M50x is available in Black, White and limited-edition Blue/Gold. Along with a carrying case, it comes complete with three cables—one for travel, one for home use and one for studio (coiled). If you’re a starving artist and can’t find yourself spending the dough, A-T has released the m20x, m30x and m40x to better suit your budget. MSRP $239 http://audio-technica.com
Glyph STUDIO mini Glyph’s “Studio mini” series are production-grade external hard drives ideal for any mobile studio owner, photographer or videographer on the go. Available from 500GB-2TB, the minis possess a fanless, light aluminum enclosure to keep quiet and cool while you work on the road. Each mini features USB 3.0, FireWire 800 and eSATA ports, bus power via USB or FireWire, a rear power switch and a stainless steel faceplate. MSRP $229-$409 http://glyphtech.com
Jimmy Page Book The guitar legend tells all in this official autobiography. A photographic essay Page personally created combines his own words with a handpicked selection of more than 600 photographs. Over two years in the making, this 512-page volume documents Page’s musical journey—from 13-year-old choirboy to ‘60s session musician, through the Yardbirds to Led Zeppelin and beyond. For Millennials like myself who didn’t get to experience Page’s success as it occurred, this is a must read—and obviously for hardcore fans as well. MSRP £40.00 (about $60) http://JimmyPageBook.com
Retro Doublewide We just gave one of these things away in our weekly Friday Freebie program (i.e. somebody, somewhere feels lucky as hell…). The Retro Doublewide is a Tube Compressor Module for the 500 Series that incorporates four NOS 6BJ6 variable-mu tubes in two gain stages as well as two high-quality Cinemag transformers. Input and output are fully floating and transformer-balanced for use with line level signals. The Doublewide has two timing characteristic modes; Single and Double. Double mode provides a dynamic program-controlled attack and recovery timing. The tubes are self-biased and balanced without the need for user adjustments. A meter-zero adjustment is accessible from the side of the unit to compensate for tube variations. MSRP $995 http://retroinstruments.com
16 December 2014
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Simmons Stryke6 The Simmons Stryke6 Drum Controller is an electronic drum control device for the iPad that can also be used to trigger various DAWs and sample programs with any USB/MIDI computer. A great alternative to those small busking gigs or coffee shop shows where a full kit just feels awkward. The controller features six drum pads plus kick and hi-hat pedals. A companion app is also available in the Apple App Store (Simmons Stryke Drums). MSRP $300 http://simmonsdrums.net
Tascam DR-44WL You know how giddy you got when you realized your GoPro could be remote controlled from your phone/mobile device? Or when your Mackie mixing board had an iPad function so you could roam around the venue?! Well Tascam has caught on to the craze to make field recording a hell of a lot easier. The DR-44WL is a four-track recorder with stereo mics, XLR mic inputs (with optional phantom power) and Wi-Fi. Tascam has released a free partnering app (on Android and Apple) to directly connect to the unit. The app allows users to start/stop recording, adjust input levels, edit recording parameters, upload to services like Soundcloud and more. This would be an asset for FOH engineers and singer/songwriters hoping to remain seated between takes. A more compact DR-22WL is also available. MSRP $374.99 http://tascam.com
Telefunken M80 We try our best not to litter this spread with too many of the same product types. So when it comes down to choosing the right mic for most of our readers, it’s never easy. This year we went with the Telefunken M80. Everyone from AFI and Green Day to Snoop Dogg and Tim McGraw endorses this super-cardioid dynamic mic. It features a wider frequency response (30Hz–18kHz) and higher SPL capabilities (>140) compared to others in its category. Built for stage or studio, this mic would be an ideal addition for vocals, instruments and drums. MSRP $279 http://telefunken-elektroakustik.com
TC-Helicon Voice Live Okay, so we’re breaking our own rule with the $1,000 MSRP, but let’s get real, you can easily find this piece of gear at any major retailer for under $800. TC-Helicon’s Voice Live 3 is an update to its flagship that turns any solo vocal gig into a full-blown harmony-having, melody-looping, choir-friendly performance. It features 11 independent effects blocks, over 180 different styles, and more than 250 factory presets available right out of the box (our favorite being Guitar Talk Box). A great tool for artists who can’t afford a live sound tech with expensive out-board gear or prefer to perform solo while keeping a fuller stage presence. MSRP $1099 http://www.tc-helicon.com
Tech-21 FLY RIG 5 Created to offer great tone without lugging around your favorite amp, the Fly Rig 5 comes in weighing around 18 oz. and stretches to just under 12-inches in length. In laymen’s terms: You can fit this bad boy in your guitar case. The 5 in the title is in reference to its five main features: SansAmp (a tube amplifier emulator); Reverb; Plexi (based on the Hot-Rod Plexi); Hot (21dB boost of preamp gain); and DLA (modeled after the boost DLA pedal). The pedal includes a 3-band EQ to go along with variation knobs for each category. The tone choices are endless. A great buy for guitarists/bassists who love Tech-21’s signature tones. MSRP $350 http://tech21nyc.com/products/sansamp/flyrig.html
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BOOK S T ORE The Longest Cocktail Party By Richard DiLello (paperback) $19.99 In this reissue of a classic memoir, American teenager Richard DiLello relates how he wandered into the Beatles’ Apple building in 1968 and was immediately appointed “house hippie.” He began making tea, rolling joints and listening to dozens of demo tapes. By the time Apple crumbled a few years later he was director of public relations. Full of period detail and a colorful cast of characters, The Longest Cocktail Party is fast-paced and funny but also manages to be immensely poignant about the demise of the Fab Four and the death of the ‘60s dream.
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18 December 2014
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Kooks, Queen Bitches And Andy Warhol: The Making of David Bowie’s Hunky Dory By Ken Sharp (paperback) $10.00 Written by New York Times Best-selling author Ken Sharp, the book is constructed as an oral history and culls revelatory interviews with scores of the album's key participants for an all-encompassing look at this seminal release. Among those interviewed are Bowie’s band members, producer Ken Scott, RCA Records personnel plus countless others, along with archival commentary from David Bowie and the late Mick Ronson. More details at http://ken-sharp.com.
Gil Scott-Heron: Pieces of a Man
Sound Man
By Marcus Baram (hardcover) $26.99
By Glyn Johns (hardcover) $27.95
Best known for his 1970 polemic “The Revolution Will Not Be Televised,” Gil ScottHeron is widely regarded as the forefather of modern hip-hop and has influenced countless writers, academics and musicians from indie rockers to rappers. GIL SCOTT-HERON: Pieces of A Man is the first full biography of the late musical legend based on hours of interviews with Scott-Heron, as well as exclusive access to his friends, collaborators and entire family.
With its subtitle A Life Recording Hits with the Rolling Stones, the Who, Led Zeppelin, the Eagles, Eric Clapton, the Faces… Johns’ memoir puts you right in the room during the creation of many of the most famous albums of the classic rock period. Johns also recounts his adventures and misadventures outside the studio with some of music’s biggest names (as well as some associations with important folks from others areas of the entertainment industry) and his recent work with Ryan Adams and Band of Horses.
Mastering Audio: The Art And The Science, 3rd Edition By Bob Katz (paperback) $39.95 An important reference book needed during these times of fast-changing audio resolution standards and delivery methods, Katz offers an easy-tounderstand approach to the many technical conundrums and mysteries that challenge even the seasoned professional audio engineer. Everyday workflows, processes and practices are covered in detail along with Katz’s approach and philosophy to EQ, monitoring and correction, and loudness measurement. There is also an extended discussion on restoration and noise reduction techniques.
Rumours of Glory: A Memoir By Bruce Cockburn (hardcover) $28.99 Singer/songwriter and activist Bruce Cockburn delves into the various stages of his music career: The deep introspection of the ‘60s, then looking outward with intention in the ‘70s, followed by angst in the ‘80s, before ultimately inviting the divine back into his work in the ‘90s. Cockburn invites us into his private world, sharing his Christian convictions, his personal relationships, and the social and political activism that has defined him.
SESAC.com
You light up the audience.
We turn on the royalties.
SESAC pays for live performances.
Your passion for music is in every word and note of your song. And even when someone else is covering it live, it’s still your song. That’s why we pay for live performances of your music, no matter who’s performing it. Visit sesac.com and get the royalty treatment you deserve! December 2014
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TELEFUNKEN ELEKTROAKUSTIK http://telefunken-elektroakustik.com By Jonathan Widran Carrying on a Tradition of Innovation: More than simply a memorable advertising line, “Built to a standard, not a price” is the company-wide philosophy for TELEFUNKEN Elektroakustik; the South Windsor, CT based state-of-the-art microphone manufacturer that follows the tradition of excellence and innovation set by the original German TELEFUNKEN Elektroakustik, GmbH over 100 years ago. While TELEFUNKEN Elektroakustik was widely regarded as Europe’s finest tube and audio equipment manufacturer, their foray into microphones began in 1948 with the distribution of the world renowned U-47 and the release of the ELA M 251 in 1959. Production of the original ELA M 251 ceased in 1963, but the blueprint was reborn in 2000 when owner Toni Fishman needed to recreate the switch assembly for the 251s in his extensive vintage microphone collection. All of TELEFUNKEN Elektroakustik’s microphones are handassembled at the company’s plant.
Diamond Series Line: Meticulous historic research led to the creation of TELEFUNKEN Elektroakustik’s flagship “Diamond Series,” which offers meticulous reproductions of classic vintage microphones including the ELA M 251, U47 and C12, recreated to exacting details to the originals. The R-F-T Series consists of original circuit designs combining premium components and new, old stock vacuum tubes with globally sourced metalwork for cost efficiency, and includes the AR-51, AK-47 MkII, ELA M 260 and CU-29 Copperhead. The Dynamic Series features three unique dynamic microphone designs, the M80, M81 and M82, in a variety of packages to accommodate nearly every need for a dynamic microphone, such as handheld microphones, low-profile versions, and wireless head capsule adapters. First Non-Vacuum Tube Mic: With over 18 months of development and beta testing by top recording engineers, the newly designed M60 FET (Field Effect Transistor) small diaphragm microphone is TELEFUNKEN Elektroakustik’s first non-vacuum tube, FET-based solid-state condenser microphone. Utilizing a unique proprietary circuit topology, this re-interpretation of the classic FET mic amplifier produces an exceptional transient response and SPL handling capabilities. Carefully selected and tested components are hand-plugged into gold-plated circuit board traces to provide an ultra-clean true Class A discrete amplifier with a frequency response of +/- 2dB from 20Hz to 50KHz. Contact TELEFUNKEN Elektroakustik, 860-882-5919
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NFL Stadium Gets Audio Upgrade The Bank America Stadium, home to the Carolina Panthers NFL franchise, recently underwent a complete sound reinforcement system overhaul featuring EAW loudspeakers. The original point source, end zone system was installed when the stadium opened in 1996 and upgraded to more powerful loudspeakers in 2007. The stadium owners brought in a team from Wrightson, Johnson, Haddon & Williams, Inc.’s (WJHW) Denver office to design a new, distributed system that would better cover all of the seats in the stadium and provide the high quality audio. Mark Graham, audio consultant for WJHW, worked closely with Cliff Miller, owner of SE Systems and head of audio for the stadium, to create a design that would fit the stadium’s current and future needs.
Randy LeRoy Celebrates 25 Years As Mastering Engineer Randy LeRoy is the mastering engineer behind hundreds of hit records. He credits heralded mastering engineer Glenn Meadows for giving him the opportunity to get started at Masterfonics during the mid-‘80s. In 1991 LeRoy launched Final Stage Mastering, which spent almost two decades as a leader in the Nashville mastering community. In 2010 Airshow Mastering asked LeRoy to join them as a Senior Mastering engineer in Takoma Park, MD, a suburb of DC. LeRoy is pleased with the niche of the recording industry he has been able to serve so well and finds being in the DC area with Airshow a great move, although he does miss Nashville’s creative energy and is grateful to still get business from the area. See http://airshowmastering.com.
Producers Guild Pressures Industry To Give Credit Where It’s Due To highlight the lack of production/engineering credit since the dawn of digital music, the Music Producers Guild has enlisted the help of producers such as Trevor Horn, Tony Visconti, Nigel Godrich and Spike Stent to make the case for credit information. In an enlightening video filmed earlier this year at the MPG Awards in London, these well-respected recording professionals spell out just how important accurate credit information is to the future of the music industry. See http://youtu.be/fR8Q4TbAQ-c. Pictured (l-r): Tony Visconti and Jarmo Masko of Genelec.
Orange County Studio Plays Host To Of Mice And Men Hybrid Studios, a fully integrated audio and visual recording studio in Orange County, has been keeping busy this winter. Currently housing the SSL4064G+ analog mixer, the studio recently played home to Of Mice and Men for their upcoming release. Pictured is studio producer David Bendeth in front of the SSL. Get more details at http://hybridstudiosca.com.
Producer Playback “Listen to the artist. Be prepared to have your ideas challenged. I often say to an artist “Give the idea a few days. Let it settle.” And give yourself the same freedom.” – Ethan Johns (Ryan Adams, Kings of Leon, Paul McCartney). Interviewed November ‘14
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– ANDY MESECHER andym@musicconnection.com
Intronaut Joins Cloudkicker In Austin, TX For Live Album Prog rock project Cloudkicker has recorded and released a live album with Century Media’s Intronaut. The album includes the song, “Push it way up!” which the band has created a video from footage of the tour the two did together earlier this year. The album was tracked at Fathom Tree Studio in Austin, TX. While recorded by Paul White, the mastermind behind Cloudkicker, Ben Sharp handled the duties of mixing/mastering. Cloudkicker was developed by Sharp in 2007 in his home studio of Columbus, OH. Visit http://cloudkickermusic.com.
Kill My Coquette Teams With Tom Waits’ Producer
DAVID GOGGIN
CHRISTOFFER RELANDER
Los Angeles-based rock quartet Kill My Coquette are set to release their selftitled debut EP on Jan. 20, 2015. Written and arranged by vocalist/guitarist Natalie Denise Sperl (pictured), Kill My Coquette recorded the 5-song EP at Evelyn Martin Recordings in Los Angeles with producer Danny McGough (Tom Waits, Social Distortion, Shivaree). Full details at http://killmycoquette.com.
Vintage King Debuts Barefoot Sound Two of the top pieces of gear to come off the AES 2014 floor—the Solid State Logic XL-Desk and the Barefoot Sound MicroMain45 monitor—had special demos at Vintage King Audio in Los Angeles and Nashville. As an exclusive to Vintage King enthusiasts, these special events offered attendees the chance to demo both of these innovative new products for the first time. Pictured at Vintage King Los Angeles (l-r): Jeffrey Ehrenberg, VK West Coast Sales Mgr.; Fadi Hayek, SSL VP Music Products; composer/producer Anthony Marinelli; and Tedi Sarafian, Barefoot Sound CEO.
Finnish Mastering Studio Upgrades Gear Chartmakers Mastering is expanding its gear with a Prism Sound Dream AD-2 A/D converter and an MEA-2 EQ for its state-of-the-art facility in the Töölö district of the nation’s capital, Helsinki, Finland. Established by Svante Forsbäck together with long-term associate Henkka Niemistö, the studio is celebrating its 10th anniversary. Chartmakers currently runs three studios in Helsinki itself and a satellite about 20 minutes to the west in Espoo.
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PRODUCER CROSSTALK
TAMARA SAVIANO
Working as a concert producer, publicist and manager
By Rob Putnam
F
ew producers win a Grammy their first time out. But in 2004, Nashville-based producer and music biz guru Tamara Saviano achieved just such a feat with her production win for compilation album Beautiful Dreamer: The Songs of Stephen Foster. She knows the music business well and in 2002 formed the 501(c)(3) nonprofit American Roots Publishing with the aim of completing artistic projects free of financial considerations. In her time she’s assumed many roles including publicist, manager and concert producer. More recently, Saviano produced Looking Into You, a Jackson Browne tribute album, which dropped in April. “This was a very different project for me,� she observes, “because usually I have an idea and I go off and do it. In this case, it was Kelcy Warren’s [co-owner of Music Road Records] The three most important idea. He’s the biggest Jackson Browne things she’s learned as a fan and I’d worked in his Austin studio producer are: before on a Guy Clark tribute. He liked my work, so when it came time for this project, he asked me to produce it.� s4HERE S NOTHING MAGICAL One of the primary differences ABOUT PRODUCING !NYONE CAN between this tribute and 2004’s DO IT *UST GO IN AND START PLAYING AROUND AND FIGURE OUT Beautiful Dreamer is that in the first WHAT YOU LIKE case Saviano used a house band to make the record more uniform and s)T S FUN TO WORK WITH OTHER recording more efficient. With Looking PEOPLE %VERYONE THAT COMES Into You, she allowed each contributor TO THE TABLE ADDS THEIR OWN to use their own band. “In my initial CREATIVE PIECE call with Kelcy, he said that he wanted the artists to be able to do whatever s$IVING INTO SOMEONE S they liked,� the producer recalls. “We CATALOG YOU ALWAYS FIND were then able to give each artist the SOMETHING NEW $OING THE freedom to build their song in the way RESEARCH IS IMPORTANT AND IS they envisioned.� PART OF THE PROCESS The challenge, then, became one of arriving at a completed record that wasn’t sonically divergent. “Thematically, you want a sound that can be married so that it doesn’t sound disjointed,� Saviano explains. “When you have artists turning in individual tracks, they can be anywhere from blues interpretations to rock or country. It was a challenge to make the record sound cohesive but I think we pulled it off.� So what’s the appeal of tribute records? Typically, they don’t achieve astronomical sales. “They don’t make a lot of money,� Saviano concedes. “But they’re deserving in that my goal is to show the songwriter we’re honoring that his or her songs stand the test of time and are still relevant. Figuring out a way to give the songs the kind of treatment, creatively, that you want and still have them make money, that’s a challenge.� Certainly that’s a business challenge. But what about her biggest production challenge? It comes down to taking the reins in a process where each player has his or her own ideas. “There are hundreds of ways to produce a record and none of them are right or wrong,� Saviano explains. “It’s just what feels right as a producer. When everyone in the room has great ideas but I still want to do something a certain way, I have to make that call. The more I do it, the easier it becomes, mainly because I’ve learned how to speak up.� Currently Saviano is producing and directing a documentary about country musician Guy Clark. She’s also writing his biography. Along those lines, recently she published her memoir The Most Beautiful Girl. Contact Tamara Saviano / tamara@tamarasaviano.com, http://tamarasaviano.com
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MusicConnection_Music Connection 1/3 square 11/6/14 12:18 PM Page 1
Shhh...
the
Last album I listened to: Alt J’s This Is All Yours Last book I read: The Match
Profile
David
Best studio lunch: Silly Goose in East Nashville My drink: Corralejo Triple Distilled Reposado shaken and over ice with a splash of lime My greatest accomplishment: A fulfilling family life and career If I had to pick one piece of Retro gear I'd go with the 176. It's killer for a vocal in either record or mix. Rich tone and transparent control.
-Jacquire King (Kings of Leon, Norah Jones, Of Monsters and Men)
w w w.ret roinst rument s.com
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– ANDY KAUFMANN
Rick Farman
but we’re mainly working through relationships we have with agents and managers. We make some exceptions, particularly for [artists] that might be in Nashville or the general Tennessee area, but by and large your band has to have a national touring profile. When you’re ready, you’ll know how to [get onto a bill] because your agent or manager or whatever other contact knows the ropes and how to present something properly.
Co-Founder Superfly Presents
Years with Company: 17 Web: http://superflypresents.com Email: rick@superflypresents.com Clients: Bonnaroo, Outside Lands, Yahoo, PayPal, Google, Intel, Pabst Blue Ribbon, Jet Blue BACKGROUND: Superfly Presents is the entity behind Bonnaroo. Besides the other festivals they’ve created, Superfly are leaders in the realm of branding, helping companies create immersive experiences that forge meaningful connections with customers. Following the Music I went to Tulane University. Prior to that, I had been a music fan and a fledgling musician. When I got to New Orleans, I fell deeper in love with music. I realized being a musician wasn’t going to be my path, but I was passionate about helping bands. I started working at Tipitina’s, helping the booking agent. I was doing the marketing, primarily, and kind of giving suggestions on booking. The guy who was the booking agent [Jonathan Mayers] had just graduated college. He and I became good friends and recognized we had this entrepreneurial bent. When new people bought the club, we left to produce our own shows. Creating Brands For the first couple years, we really focused on special events. We did, for a while, promote regular concerts. We recognized our passion was on things where we could create intellectual property, a brand and a whole look, feel and community around an event, rather than just one-off concerts. That didn’t, at the end of the day, fulfill our creative desires or business ambitions, so we backed away from doing that. That was when we started to coalesce around the idea for Bonnaroo. For the Fans We would produce somewhere in the neighborhood of 30 to 50 concerts during the Jazz Fest time-period of two weekends, selling in the neighborhood of 30,000-40,000 tickets. We recognized that same audience would probably be excited to go to a more immersive camping festival, so we set out to fill that void. SFX was buying up all the regional promoters and made us think that being a regular concert promoter maybe isn’t the best path. That consolidation affected the product that was being put out. Being fans ourselves who were really on the ground, we noticed a lot of that, so we sort of designed Bonnaroo around being the opposite of that. Rising With Technology This also coincided with the explosion of digital music and the iPod being launched, so you had a situation where people’s tastes broadened and the format of the festival and the format of listening to your playlists, those things worked really well together. You also had early social media, things like message boards and listservs. The bands we were working with were very savvy around the use of new 26 December 2014
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A Festival of Your Own It starts with why. What are you looking to accomplish? Is there something you don’t think is being done that audiences would be excited about? It’s really important to have a clear idea of what you want to produce. Saying, hey, I want to put on a festival, is not really enough. It’s understanding what is the opportunity you can bring to the table.
“We don’t look at ourselves as concert producers. We don’t look at ourselves as being in the music business.” media, because they had fan bases that were on the cutting edge in using technology to communicate, so there was already a built-in network to get the word out. Offering a Diverse Experience There was a desire at the beginning for [Bonnaroo] to encompass a variety. We knew that if you’re going to keep people entertained for three or four days, you need to do some things other than just music. We’re going to put on a big party and it can’t be one-dimensional. It wasn’t until we started to go to other festivals [around the globe] that we started to put the pieces together of what we could do. I went to a festival called Lowlands in Holland. Instantly, I saw two things that we brought over. One was the silent disco and another was the comedy tent. Reflecting the Region Outside Lands was born out of the idea that San Francisco is one of the great music markets in the country. It’s a place that inspired a lot of the music that inspired us. We were looking for opportunities in a more urban environment and it seemed crazy there wasn’t already a great festival in San Francisco. Because of that, we focused on how to make something happen there. We had a successful first year, had a couple years where we were still figuring out what was going to make it tick. The last three years, we’ve sold out in advance. A big part of the event’s success is the identity we gave it. It’s representative of what the Bay Area has to offer. We’re in this beautiful location. We have amazing food. We serve over 150 different wines, 70 different beers. We have amazing art, both [visual] and performance. Those are kind of the pillars of culture and entertainment in the Bay area. Getting On the Bill We’re certainly calling on a lot of bands,
Sensible Branding The consolidation of the business with SFX caused there to be not the greatest fan experience. A big part of that was sponsorship. You saw a lot of overt sponsorships that were not done in any sort of integrated way. It was just smacking a huge banner or “Presented By” on something. We were not interested in that. Instead of using an outside sponsorship agency, we decided to hire staff to sell and execute sponsorships that would happen at our events. We created a base, guiding principle that we use to evaluate whether it made sense for a brand to be part of one of our events or not. And that’s basically – why are they here? What are they adding? What is the fan getting out of said brand being there? Brands as Relevant Cultural Experiences A lot of the brands we worked with had great results. We started having people on the brand and agency side ask if we could help them do things outside of our events. We started to dabble in it and then about three years ago we made a commitment to say, look, here’s a real business. We started to have people who were at bigger agencies say, hey, I’d love to come work with you guys. It’s grown to about 50% of our revenue. More Than the Music Business We don’t look at ourselves as concert producers. We don’t look at ourselves as being in the music business. It makes us different from a lot of our contemporaries. We’re looking to build this business in a way that’s more like a media company, where you’re reaching out to audiences on a variety of levels. We’re working with artists and advertisers on a regular basis to create great experiences and promote product. Target Yourself We genuinely care about the experience of the people we’re interacting with, whether that be fans, clients or artists. We got into it because we were passionate about turning people on to music. Then we got passionate about creating a meaningful experience for people. We were doing things we wanted to be a part of. When you’re willing to do things that are in your sphere, things you understand inherently because they’re targeted for you, success usually follows. That’s kind of been our recipe.
– BERNARD BAUR
MUSIC CONNECTION’s Business Affairs delivers up-to-date information about the signings of new artists, significant developments at major and indie labels, as well as news of managers and attorneys who are active in the A&R aspect of the music business. So that MC can provide the most current information possible, please send any industry news, buzz or rumors that need to be verified to BBatMC@aol.com.
OPPS
Wind-up Records is seeking new talent for its roster. They are accepting submissions via http://musicxray.com, and will listen and reply to every submission. Wind-up Entertainment, one of the largest independently owned music companies, is based in New York City and is distributed domestically by Sony Music Entertainment. You can check them out at http:// winduprecords.com. Harbour Records, a new indie label in Los Angeles, are looking to expand their management roster. “What we are looking for is excellent music, from great people, who are interested in developing a long-term career opportunity.” The label was established in 2012 by the artist management team of Chris Hardin and Brendan Bourke, who have modeled Harbour after Island Records where they honed their skills as alumni from Island, Chrysalis, and Radioactive Records. The label intends to provide independent and established artists a full-service platform to release music digitally and physically to audiences
KYLIE ODETTA INKS TALENT AGENCY DEAL Kylie Odetta, an indie singer/songwriter from South Carolina, has signed with a talent and entertainment agency called NMP Talent that will handle bookings in the college market. Odetta will be booked as a solo acoustic act for the College Campus Coffee House Programs. Odetta states, “My goal is to create art that moves people deep inside their souls, brings love to light, and enhances the beauty and power of emotion.” You can learn more about her at http:// kylieodetta.com.
worldwide. For additional details, please visit http:// harbourrecordings.com. Incorporated Elements are currently seeking upbeat pop songs. The company works in many areas of production, including artist production and development as well as music for film, television, video games and advertising. All submissions must be a final recording—mixed and mastered. Demos will not be accepted. If interested, check out http://IncorporatedElements.com. Love to Infinity Records are looking to sign artists with mainstream commercial pop songs. They are in search of the next generation of pop stars with hits. If you think you have great commercial radio friendly songs, this label would like to hear them. The label consists of Grammy Nominated, Multiplatinum selling (U.K. based) producers and remixers, with over 34 million records sold worldwide. You can contact Music Director Andy Lee via http://linkedin.com/pub/ andy-lee/46/85/663 for further information. The Nashville International Song & Lyric Competition for Christmas 2014 is accepting entries. Over $150,000 in cash and prizes will be awarded. Almost any style of music is acceptable, including Hot Country, Traditional Country, Pop, Contemporary Christian, Gospel, Rock, AAA, Americana, Jazz, Blues and more. They will send the best tracks to artists looking for similar songs. All entries—not just winners—have a chance of getting to an artist who may record it. Moreover, since there are multiple contests throughout the year, it means
SUPERSTARS ENTERTAIN 43,000 RUNNERS Aloe Blacc, Chromeo and Macklemore & Ryan Lewis came together in Las Vegas for one reason… to pump up the over 43,000 runners who participated in the “Rock ‘n’ Roll Running Festival” events. Grammy Award winners Macklemore & Lewis got the party going at the start-line village for the “Rock ‘n’ Roll Las Vegas Marathon & Half Marathon,” which benefited the Crohn’s & Colitis Foundation of America. The hip-hop platinum duo ignited the stage with an energetic performance of crowd favorites. Music wasn’t just reserved for the headline performers. Bands and DJs also entertained participants at every mile of the run. For additional details, visit http://runrocknroll. competitor.com/running-festival. prizes are awarded faster and more often than contests that happen only once a year. You can enter your contact info and receive free details on the competition at http:// paramountsong.com/song-contests. MakeAStar.com has ongoing competitions. Their talent contests are two phases: The first is the contenders round, where fans vote online to help contestants get the highest scores. Then, every month the highest scoring contenders (a minimum of eight) advance to a monthly bracket tournament where contestants advance through each stage of the bracket by a combination of online fan votes and scores from Make A Star’s panel of judges. Winners can win hundreds of dollars in cash prizes—not to mention bragging rights and notice by industry pros. For details, log on to http://makeastar.com.
,!"%,3 s 2%,%!3%3 SIGNINGS
INgrooves Music Group has unveiled an impressive set of catalog releases from some of the world’s most beloved artists. The cornerstone of INgrooves’ fall release schedule are the releases of 19 separate 7-inch vinyl singles and 8 LPs from one of the most influential heavy metal bands in history, Iron Maiden. Fans are also excited by the Dec. 16 release of a retrospective box set from England’s seminal rock band, the Kinks. Entitled The Anthology 1964-1971, the 5-CD set contains 139 tracks from the band’s classic years, including 25 previously
unavailable tracks, rare demos, alternate mixes and an expansive booklet with extensive liner notes. Many of these special releases, including Iron Maiden, the Kinks, De La Soul and Nick Cave, are part of INgrooves’ agreement to distribute the BMG/Sanctuary catalog here in the United States. For more information, including specific titles and release dates, you can visit INgrooves Music Group website at http:// ingroovesmusicgroup.com/newreleases. Chicago Death Metal supergroup These Are They have retooled and resurfaced to present their third studio release At The Feast Of Seven Funerals, via Unruly Sounds / The End Records. In addition to the core writing team of vocalist, Paul Kuhr (Novembers Doom), guitarist Steve Nicholson (formerly of Novembers Doom) and guitarist Justin Jurgevich (formerly of Hurtlocker), the band now includes bassist Mike Flaherty (formerly of Loudmouth) and drummer Tony Bettenhausen (formerly of Hurtlocker). Recorded at Belle City Sound in Racine, WI, the engineering behind the album was handled once again by Chris Wisco, with mixing and mastering duties delegated to Sweden’s Dan Swanö of Unisound Studios. You can find out more about the band by visiting their Facebook page at http://facebook.com/TheseAre They. Rising artist Craig James is releasing his debut single, “(Maw Maw) Why Her?,” which
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– BERNARD BAUR
was produced and co-written by Arden Lo. At just 14 years old James has already garnered attention from fans and media. For more information, go to http:// iamcraigjames.com.
follow up to 2011’s Space Vampires vs. Zombie Dinosaurs in 3-D. For more hysterical, psycho-fun, go to http://psychostick.com.
Victory Records has signed Long Island, NY’s Kissing Candice. Their debut album is coming in 2015. Visit http:// facebook.com/Kissingcandice for more details on the signing of this visually stunning band.
The reigning CMA and ACM five-time Female Vocalist of the Year and dog ‘mother’ to seven rescue dogs, Miranda Lambert, raised nearly $66,000 for her MuttNation Foundation. The centerpiece of the online auction was a customized Ram Laramie Longhorn truck which sold for $54,901. Other items, which brought in nearly $11,000, included signed copies of Lambert’s Platinum CD, signed guitars and tickets to one of Miranda Lambert’s concerts in 2015, including a preshow cocktail with her. Stay classy, Lambert.
The man who forever changed the sound of rock & roll when he invented distortion, Kinks legend Dave Davies, has recorded a brand new solo album of all original material called Rippin’ Up Time on New York based Red River Entertainment. Produced by Davies & David Nolte, the new CD features 10 new original songs written in the classic Kinks style. Davies explains, “The record is about a man’s reflections of the past, his fears, anxieties and optimism about the present and hopeful expectations about the future.” Get more by visiting Davies’ official website, http://davedavies. com. Chicago, IL based comedy rock kings Psychostick are excited to share their latest offering nine months after a successful crowd-funding campaign to build a studio. Now that day has come and the humorcore masters have unleashed their fourth full-length installment IV: Revenge of The Vengeance. This latest album from the band’s laugh factory is the
PROPS
USABookNews.com, an online magazine featuring mainstream and independent publishing houses, announced the winners and finalists of The 2014 USA Best Books Awards. Over 400 winners and finalists were announced in over 100 categories for titles published between 2012-2014. Among the winners was Music Connection’s Brian Tarquin for his release, Guitar Encyclopedia. His industry book The Insider’s Guide To Music Licensing was also nominated. Visit http://usabooknews.com for more information. Military experience inspired a return for Refund Band. Formed in 2013, the band was created
PENTATONIX & RCA CELEBRATE EARLY RCA Records and Pentatonix celebrated the holidays early at the Baz Dazzled Holiday dinner after a performance on Madison Avenue for the unveiling of Barney’s New York Holiday windows (created by director Baz Luhrmann). Pentatonix (aka PTX) are an American a cappella group of five vocalists originating from Arlington, TX, with their music mostly consisting of covers. Pictured (l-r): Peter Edge, CEO, RCA Records; Tom Corson, President & COO, RCA Records; and Pentatonix members Kirstie Maldonado, Scott Hoying, Mitch Grassi, Kevin Olusola and Avi Kaplan. To learn more about the group, go to http://ptxofficial.com. 28 December 2014
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DIY Spotlight TRILLIUM VEIN Trillium Vein (aka Natalie Paige Bentley) is a one-of-a-kind DIY artist who combines her music with multimedia environments. In fact, she created her own alternative world, called by some fans. “Planet Trillium,” which is reminiscent of Tim Burton’s work. Her music, a version of alternative rock and symphonic orchestration supported by haunting vocals and spellbinding lyrics, paints extraordinary pictures. She’s had music videos in rotation on MTV2, MTV.com, MTVHive. com and FUSE.tv. She also created an award-winning multimedia masterpiece which includes a fantasy interactive film and website, and concept CD and Storybook which earned the “Domtar’s Award of Excellence” and “ForeWords Multimedia Book of the Year.” Via her award-winning storybook and interactive website, Vein’s music has streamed on multiple Internet outlets, including Jannus Live Music Channel and Women of Substance Radio. She has also scored music for independent productions and directed and produced award-winning music videos for other artists. Vein created all of this DIY style with the support of fans, friends, social media and networking with industry. “Basically,” she says, “I teach myself how to do ANYTHING and do it over and over until I can do it myself. I do that because it’s cheaper and my vision doesn’t get distorted.” She believes anyone can do it and encourages other DIY artists “to just go for it.” Most recently, she released her latest record, Planet Trillium, and will be getting nationwide radio exposure via John Flanagan’s Radio & Marketing company (a frequent Music Connection resource). To learn more, go to http//trilliumvein.com; http://FlanaganPromotions.com
Have a successful DIY strategy to share? Email bbatmc@aol.com after frontman Drew Clementino left the army to pursue his musical ambitions. During his seven years in the military, he found himself writing songs and bringing his guitar no matter where he was. Reflecting on his life, Clementino says “I’ve identified the name with my own return from the military. I wasn’t happy with the things I was doing and the person I became. So, I’m asking for a refund on my life.” You can support his mission by going to http://returnforrefund. com or https://soundcloud.com/ ReturnForRefund. Dave Grohl and Foo Fighters chose the Magic Shop to be the featured N.Y.C. studio on the last stop of their Sonic Highways musical tour of America. The Magic Shop will be seen in the last episode of the HBO Sonic Highways series, which premiered this November. Grohl and the Foos recorded “I Am a River” at the Magic Shop, and visited with guests such as Joan Jett and Steve Earle. For all the details, go to http://foofighters.com.
THE BIZ
Insomniac’s 2014 Electric Daisy Carnival, Las Vegas generated
more than $337 Million for Clark County economy. The three-day Electric Daisy Carnival (EDC), Las Vegas held in June 2014 boosted the Clark County economy by an estimated $337.8 million, according to economic data provided to Insomniac by Beacon Economics, LLC. The annual event held at the Las Vegas Motor Speedway has pumped almost $1 billion into the local economy since the festival made its debut in Las Vegas in 2011. BMG Chrysalis U.S. has acquired leading Los Angelesbased indie rock label Vagrant Records as part of a strategy to further build its North American new recordings business. Vagrant co-founder Jon Cohen will become EVP Recorded Music at BMG Chrysalis U.S. responsible both for Vagrant and for records released in the U.S. through BMG’s ground-breaking Artist Services model. Full details are available at http://musicconnection.com/bmgacquires-vagrant-records. 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’m Smiling Because I Just Cashed Another Royalty Check” John Mazzei - TAXI Member
M
y music is played regularly on the top daytime TV talk show as a direct result of my TAXI membership. I was a full-time gigging musician, playing covers to earn a living. I always thought that was the only way to make money with music. Sure, I’d heard of royalties, but I thought they were just for music industry insiders. I saw the ads for TAXI but was skeptical that they could help me get an inside track to the music business. I’d always composed in my home studio, and really didn’t think my music would ever be heard by anyone but family and friends.
The Leap of Faith
A few years and a corporate day gig later, I finally decided to give TAXI a try. Within a few months they started sending my music to some great companies. That encouraged me to attend my first
Road Rally – TAXI’s free, members-only convention. That gave me a huge jolt of inspiration and knowledge.
I Didn’t Have To Be An Insider…
I just needed to write consistently great, targeted music and learn more about the business side of the music industry. I also learned that the music business is made up of some pretty cool people. I went home from the convention with renewed energy, kept submitting to TAXI, and used their feedback to hone my skills.
My First Composing Gig
A couple of years later, I handed out my demo at the Road Rally. As a result, I was invited to compose
for the famous daytime TV talk show mentioned above. Needless to say, I said, “Yes!!” Since then I’ve also signed with a number of Film & TV Music Publishers and my music’s been placed on HBO’s True Blood. In just three years I’ve signed publishing deals for more than 100 pieces of my music and have an open door to submit to those publishers any time. All of this was a direct result of my TAXI membership.
Quitting the Day Job…
I can’t quit my day job just yet, but that day gets a little closer with each deal! Give TAXI a call. If you’re willing to work hard, learn from their feedback and have patience, you can hear your music on TV and cash royalty checks too. Thanks to TAXI, I’m smiling all the way to the bank! Give them a call.
The Worldʼs Leading Independent A&R Company
1-800-458-2111
Marty Panzer: UCLA Extension Master Class
ole Inks Joey + Rory ole has signed separate publishing deals with Joey + Rory, also known as Rory Feek and his wife Joey Martin. Feek, a former Song Biz profile subject, has written songs for Kenny Chesney, Randy Travis, Mark Wills, Trisha Yearwood and many others. More details at http://majorlyindie.com.
John Allen to New West Veteran music industry executive John Allen has been appointed President of New West Records, New West Independent Music Publishing and its developing artists imprint, Normal Town Records. Allen, formerly a VP at BMG Chrysalis, will open New West’s first Nashville office.
Marty Panzer’s acclaimed UCLA Extension Master Class, “Writing Lyrics That Succeed and Endure” will be celebrating its 21st year in 2015. With 35 gold and platinum records and four BMI-Million Play Awards, Panzer, who has written for Disney and co-wrote the standard “Through the Years,” is probably best known for his collaborations with lifelong friend Barry Manilow. The UCLA Extension class is highlighted with lectures, discussions with guest professionals, and analysis of student assignments and worksin-progress; provide experience in the practices of the profession, including writing on assignment and deadline, rewriting and collaboration. Guest speakers scheduled to appear (subject to availability) include Jason Blume, songwriter, instructor and author; Marco Marinangeli, Grammy-nominated producer and composer; Molly Kaye, music publisher, manager, A&R. The class will run from Jan. 8 Mar. 26 on Thursday nights from 7 - 10 p.m. Registration is available online (http://uclaextension.edu), by phone (310-825-9971) or in person at the UCLA Extension Registration Office (10995 Le Conte Ave., Los Angeles, CA 90024).
Beyond the Lights: Song Intensive Cinema
The new romantic drama feature film Beyond the Lights is all about the music. The soundtrack features a new song, “Grateful,” performed by British singer Rita
Simon Speaks Paul Simon has agreed to cooperate with author and longtime music critic Robert Hilburn for a planned biography. Simon & Schuster, winner of a recent six-publisher auction, announced the acquisition. Hilburn, whose previous books include the memoir Corn Flakes With John Lennon and Other Tales from a Rock ‘n Roll Life and a recent biography of Johnny Cash, has known Simon since the ‘70s. 30 December 2014
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Ora and written by the indomitable Hollywood-based Academy Awardnominated songwriter Diane Warren. Due out from Relativity Media LLC’s Relativity Studios, the feature film tells the story of a pop star, played by Gugu Mbatha-Raw, who is saved by a policeman, Nate Parker, after a suicide attempt. The drama co-stars Danny Glover and Minnie Driver and was directed by Gina Prince-Bythewood, who directed Love & Basketball. A music video of “Masterpiece,” a song from the movie that features Ms. Mbatha-Raw, was issued to promote the film’s release. The film also is sponsoring a dance contest on the DanceOn YouTube channel to see who can devise the best choreography for a song from the movie.
Round Hill Gets Loud
Round Hill Music has acquired the song catalog of Big Loud Shirt Industries. The companies will form a joint venture going forward. Terms of the deal were not disclosed. The catalog includes such songs as Tim McGraw’s “Live Like You Were Dying,” Carrie Underwood’s “Before He Cheats” and “Blown Away” as well as George Strait’s “I Saw God Today.” Moreover, a number of Big Loud Shirt songs have been cut by Martina McBride, Brooks & Dunn, Nickelback, Plain White T’s, Daughtry, Katharine McPhee, Kellie Pickler and Boyzone. The deal also includes an alignment with Big Loud Bucks Administration and Information, the music administration arm of Big Loud Shirt. In addition to
This is ASCAP Country Alan Jackson, Craig Wiseman and Ashley Gorley were the big winners at ASCAP’s annual country music awards presentations and dinner held at Nashville’s Music City Center. Jackson and Wiseman won Heritage Awards as songwriter-artist and songwriter, respectively, while Gorley scored as the 2014 songwriter of the year. Pictured (l-r): Keith Stegall and Alan Jackson.
– DAN KIMPEL dan@dankimpel.com
future joint venture, songwriters’ signings, Round Hill’s Gruss said that Wiseman and his team will work with Round Hill Music going forward. For the last two years, Big Loud Bucks has consistently ranked as the No. 3 music publishing administration for the top country radio airplay songs. It has also appeared in Billboard’s Top 10 publisher ranking for the top radio airplay songs for eight consecutive quarters. Hit songwriter Craig Wiseman founded big Loud Shirt Industries. See http://bigloudshirt.com.
Ross Golan: The Wrong Man Musical Honored
Songwriter Ross Golan was presented with 2014 Ovation Awards at ceremonies in Los Angeles for Lyrics/Composition and Book of an Original Musical for his song cycle The Wrong Man. The story is inspired by a line in Johnny Cash’s “Folsom Prison Blues” that says, “I shot a man in Reno/Just to watch him die.” The lead character in Golan’s story is being tried for the same murder. Originally from Chicago, Golan went to Los Angeles to attend USC. Most recently, Golan has co-written songs for top artists including Maroon 5 , Lady Antebellum, Justin Bieber and 5 Seconds of Summer. He is signed to Warner-Chappell Music, http:// warnerchappell.com.
Richard Conlon to UMPG
Universal Music Publishing Group (UMPG) has announced it has entered into an agreement with Richard Conlon, former Senior Vice President - Corporate Strategy, Communications & New
Media for Broadcast Music, Inc. (BMI), for his services as a Special Advisor on Performing Rights. Conlon will be counseling the company on matters related to advocating, protecting and maximizing the value of performing rights on behalf of UMPG and its songwriters. A well-respected and accomplished music industry executive, Conlon spearheaded BMI’s digital new media licensing divisions and directed global communications efforts. Under his management, licensed properties grew to more than 10,000 sites and digital income consistently drove corporate revenue growth. More details at http://umpg.com.
Songwriters Revolt on Spotify
On the heels of Taylor Swift pulling her catalog from Spotify, songwriter/artist Aloe Blacc has some choice words for the massive streaming company. “Consider the fact that it takes roughly one million spins on Pandora for a songwriter to earn just $90. Avicii’s release ‘Wake Me Up!’ that I co-wrote and sing, for example, was the most streamed song in Spotify history and the 13th most played song on Pandora since its release in 2013, with more than 168 million streams in the U.S. And yet, that yielded only $12,359 in Pandora domestic royalties—which were then split among three songwriters and our publishers.” In return for co-writing a major hit song, he says, he’s earned less than $4,000 domestically from the largest digital music service. DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.
Diamond Shines @ UMPG Neil Diamond has signed an exclusive worldwide publishing administration agreement with Universal Music Publishing Group (UMPG). The company will represent Diamond’s songs for synchronization in film, TV, advertising, games and other media, as well as provide global copyright administration of his entire back catalog and future works during the term.
SESAC Celebrates in Nashville SESAC celebrated its most successful songwriters and publishers in the Country and Americana genres at the SESAC Nashville Music Awards held at the Country Music Hall of Fame & Museum. Rob Hatch, who cowrote Randy Houser’s “Goodnight Kiss” and the Lee Brice smash “I Don’t Dance,” was named SESAC’s Songwriter of the Year, while his publishing company, Magic Mustang Music was honored with the Publisher of the Year accolade.
Vince Gill Is An Icon Broadcast Music, Inc. presented the 2014 BMI Country Awards, honoring the top songwriters and publishers of the past year, plus the prolific songwriting career of BMI Icon Vince Gill. Pictured (l-r): Vince Gill, Amy Grant, Keith Urban and Nicole Kidman.
Swift Renews with BMI Broadcast Music, Inc. (BMI) has announced that international superstar Taylor Swift has resigned with BMI for representation of the public performances of her music catalog. One of the most successful and influential singersongwriters in the world, the seven-time Grammy-winner is also the bestselling digital music artist of all time. December 2014
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Da Internz: The Power of the Song By Dan Kimpel
I
+ MusicFeedsLA INVITE YOU TO A SPECIAL EVENING AT THE SATELLITE WITH
DRUG CABIN
members of Ambulance LTD and Pretty Girls Make Graves
with JC AUGUST + THIEVES
a concert benefiting
THE SATELLITE 1717 SILVER LAKE BLVD DEC 09 2014 8:30 PM | $10 | 21+
FEEDLA
BRING A HYGIENE PRODUCT + BE ENTERED TO WIN TICKETS TO A GOLDENVOICE SHOW AT THE FONDA OR EL REY THEATRE
feedlosangeles.org
32 December 2014
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n the control center of their Sherman Oaks, CA studio, the songwriting and production duo known as Da Internz reveals a study in contrasts. Marcos “Kosine On Da Beat” Palacios is animated and verbal, while Ernest “Tuo” Clark is observant and reflective. With the success of Nicki Minaj’s “Anaconda,” the pair (who have both co-writing and production credits on the song) are on a hot streak, having written and/or produced hits for Nas, Big Sean, Ludacris featuring Miguel, Game, Plies, and Chris Brown, Justin Bieber, John Legend, Rihanna, Kat Graham and Melanie Fiona. It was not always this way. A decade ago the two Chicagoans were creating homemade mix tapes, but they envisioned writing and producing on a larger scale. “We were flying between Chicago and L.A. and sleeping on floors. Trying to get into any studio we could get into, cultivating the sound of what was going around sonically in California,” says Kosine. Encouraged by Tuo, Kosine graduated from Columbia College in Chicago, and then taught producing and recording music plus hip-hop beat making at his alma mater. “Everything that Tuo and I were doing in L.A. I put into my class,” Kosine remembers. “The Chicago Sun-Times did a full page write-up on it.” Mastering the sounds as producers was crucial, but Kosine believes that understanding the craft of songwriting was key. It was at a writing retreat in Holland that Kosine came under the influence of ASCAP’s Ralph Murphy. “He talked about ‘Don’t ever say it’s a dress, say it’s a yellow dress. Don’t say it’s a tree, it’s an oak tree.’ He broke down how to make songs come to life and to make them visual. It just clicked in,” Kosine remembers. “Instrumentals don’t go Number One on the charts,” he continues. “And when you hear something like John Legend’s ‘All of Me’ or Adele’s ‘Someone Like You’––records that are just voice and piano—it lets you know the power of the song.” With multiple writers now divvying up songwriting credits on pop hits, Kosine is philosophical about this complexity of contributions. “We’re so generous. We sow so many seeds, and it’s always better to have a piece of something huge than to have a whole stake in something that ain’t doing shit.” His partner applies his knowledge to the business side of their enterprises. “I learned from years of studying different people and being in rooms I never thought that I’d be in,” Tuo says. A publishing deal with Sony/ATV has provided Da Internz with major opportunities such as Netflix promotional campaigns that included the song they co-wrote and produced for Youngblood Hawk, “Stars (Hold On)” and “Made to Love,” by John Legend featuring Kimbra. The later was utilized in a Chevy commercial in which they are credited as writers and they also have co-production credits with Kanye West. Da Internz now have signed writers and producers to what they call “Internz University,” a specific songwriting and production system to help their novices come up with hits. “I’m a firm believer that when people come to you, you actually pay attention to what they have to say,” says Tuo. “A lot of people can’t listen. We weren’t the shit––we had to go through it. ‘It’s not quite there, but I know where we can take that.’ There’s a whole study standpoint when you are in the driver’s seat and want people to get in the car with you.” Additionally, the two are also readying an artist project dubbed Affordable Healthcare. “To do what we do you have the desire in your soul to be Robin, not Batman,” says Kosine, “because the artist is Batman. That's why our Affordable Healthcare music is so different––it’s not us standing behind anyone. This is what we feel in our souls.” Ultimately, these partners share a mission. Says Kosine, “We’re not the gangsters. We’re the guys who have the most fun making music. We won’t get in front of you; we’ll let you shine. That’s Da Internz brand.” Contact The Courtney Barnes Group, 323-466-9300, SCB27@aol.com
December 2014 October 2014
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DROPS
Over 14 hours of live concert footage from throughout the careers of the grandfathers of college rock, R.E.M., just dropped Nov. 24. The release of the six-DVD collection, REMTV, was preceded by a private screening of the Alexander Young-directed documentary R.E.M. by MTV at the Director’s Guild Theatre in New York, attended by founding band members, frontman Michael Stipe and bassist Mike Mills. The film makes use of archival footage to chronicle the band’s rise to fame from its roots in Athens, GA alongside the rise of MTV. Contact Sam Citron at Sam@BBGunPR. com for more information.
NICK CAVE the Americana Music Awards. He also sold out three consecutive nights at the Ryman Auditorium, Nashville’s holy grail of venues. Contact Jim Flammia at Jim@AllEyesMedia. com for details.
on Jan. 6 in Las Vegas after a fall run with performances in Los Angeles. The show, directed by Stuart Gordon with lyrics by Mark Nutter, will run for 16 performances from Jan. 6-18 at the Troesh Studio Theater at the Smith Center for the Performing Arts. The cult horror comedy centers around Herbert West, a medical student who has found a way to revive the dead. To reserve tickets, call 702-749-2000. Contact Lynn Tejada at Lynn@ greengalactic.com for more information. BLACK VEIL BRIDES
Southeastern Records just released Jason Isbell: Live at Austin City Limits, a DVD featuring the illustrious songwriter and his band, the 400 Unit, as they played Austin City Limits in Austin, TX, in October 2013. The captured footage shows the songwriter singing beautiful cuts like “Outfit” and “Decoration Day” from his days as one-third of the songwriting force behind Southern rock band Drive-By Truckers. The DVD also includes a version of the Rolling Stones’ “Can’t You Hear Me Knocking.” Isbell’s accolades include Artist of the Year, Song of the Year for “Cover Me Up” and Album of the Year for Southeastern at
Viewers now have a window into one of rock’s most avant-garde artists, Nick Cave, with the release of 20,000 Days on Earth, released on DVD and Blu-ray and digitally through Drafthouse Films. Somewhere between and documentary and concert film, directors Iain Forsyth and Jane Pollard delved into the creative process of Cave and came out the other end with an award-winning film featuring the artist as well as his frequent collaborator, multi-instrumentalist Warren Ellis, actor and friend Ray Winstone, and musical artist Kylie Minogue, who dueted with Cave in “Where the Wild Roses Grow.” The DVD/Blu-ray release features a 14-page interview with the artist and filmmakers as well as extended and deleted scenes. For more details, contact Clint Weiler at ClintWeiler@gmail.com. Adapted from the sci-fi/horror writer H.P. Lovecraft’s story and the 1985 film, ReAnimator: The Musical is returning to stages
RE-ANIMATOR
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Hollywood rock band Black Veil Brides will follow up the successful release of their eponymous fourth album on Lava/Republic Records with their first live DVD, which is scheduled to drop in June 2015. The concert film was shot at the band’s hometown Halloweekend show in L.A. at the Wiltern Theater on Nov. 1 during the Black Mass Tour. Casey Tebo, who worked on Aerosmith documentary Rock For the Rising Sun, directed. The release comes on the heels of a record that reached No. 1 on the iTunes Rock Chart and No. 4 on the iTunes overall album chart. For more information, contact Taylor Vaughn at Taylor.Vaughn@UMusic.com.
OPPS
BMI award-winning vocal coach and producer Mark Vogel of Mark Vogel Music is seeking young performers ages 12-21 for a vocal master class and performance showcase on Dec. 6. Vogel will provide one-on-one training. Participants will receive a performance critique with Star Search Vocal Grand Champion and special guest coach Blake McIver (Full House, The People’s Couch). They will also perform a piece of music before several top casting and youth talent agents in L.A. including Robin Nassif (Media Arts Group), Saraphina Monaco (Prestige Talent Agency), Karla Huff (Dream Talent Management), Julie Gale (La Padura and Hart Casting) and
– JESSICA PACE j.marie.pace@gmail.com Shayna Sherwood (Sherwood Casting). More information can be found at http://Backstage. com/casting/vocal-master-class-and-showcaseages-12-21-51793. Actor, director and writer Scott Colomby, recognized for his role in 1980 hit comedy film Caddyshack, is seeking new or experienced actors to read and find material for an upcoming showcase he will direct. Those selected will have spend two sessions in Hollywood honing their craft with Colomby and can call 323-650-6472 to make an appointment.
Contact Ray Costa at RCosta@CostaComm. com for more information. To benefit BBC charity Children in Need, BBC Music recently released a fairy tale-esque video covering the Beach Boys’ masterpiece, “God Only Knows,” featuring 80-piece BBC Concert Orchestra. Filled with bubbles, hot air balloons, tigers and 27 musical talents from Elton John and Lorde to Stevie Wonder and Dave Grohl, the “God Only Knows” video also features Beach Boys legend Brian Wilson on piano. Watch the video at https://YouTube.com/ watch?v=XqLTe8h0-jo and see how it was made at https://YouTube.com/ watch?v=vp5bVdXOLs4.
New Music Channel is a 24/7 music channel on DirecTV offering over 12.5 independent bands of all genres an opportunity to be Paying tribute to unsung discovered and promoted sidemen, Multiplatinum CHRISTOPHER LENNERTZ on a global level. Benefits guitarist and songwriter for its artist include a Jason Hook (Five music video aired four Finger Death Punch, times a week on the channel’s six-hour block of Alice Cooper), award-winning documentarian original programming. Songs for the videos can Fran Strine (Dolly Parton: Live in London, be submitted through Music Gorilla at http:// Battlefield of the Mind) and music manager/ MusicGorilla.com/mg/submission/details/newproducer Jamie Talbot (Sunset Strip, Radio music-channel-looking-for-videos-from-indieCaroline) are seeking public funding for artists-no-profanity. Hired Gun, a story through film about session musicians and backup players––the industry’s out-of-the-spotlight, under-the-radar names in music that don’t get the credit that goes with Congratulations to Emmy-nominated and BMI their talent. Film Award-winning composer Christopher Strine taps into the psyche of these heard Lennertz who co-wrote the score and songs but rarely recognized names that range from for the 200th episode––“Fan Fiction”––of heavy metal guitarist John 5––who played the television series Supernatural, which with Rob Zombie, Marilyn Manson and
PROPS
GOD ONLY KNOWS recently aired on the CW network. Lennertz worked with Jay Gruska, who scores every other episode of the series opposite Lennertz, as well as one of the show’s writers, Robert Thompson, who wrote the lyrics. Lennertz’s projects include work on the box office hits Alvin and the Chipmunks, Think Like A Man, Horrible Bosses and Identity Thief, in addition to video games includingthe James Bond 007 series, EA’s Mass Effect 3, Sony’s Starhawk and Warhark, and Madden NFL. Lennertz’s latest, Horrible Bosses 2, hit theaters Nov. 26.
David Lee Roth––to pianist/harpist Corky Hale, who played with Liberace and Frank Sinatra. Visit https://Indiegogo.com/projects/ hired-gun-music-s-unsung-heroes to contribute to the filmmakers, who are attempting to raise $35,000. Contact Strine at Fran@FranStrine. com or Jamie Talbot at JamieTalbot@ SureTone.com for more details. JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie. pace@gmail.com.
Out Take
Rich Jacques Right the Stars Musician
Email: Licensing@SecretRoad.com Web: http://RightTheStars.com Most Recent: The Only Thing You’ve probably heard Right the Stars’ songs without even realizing it. With placements in commercials and television shows for Honda, Target, Xbox, Pixar, Grey’s Anatomy, One Tree Hill and Pretty Little Liars, Right the Stars—namely frontman Rich Jacques—has managed to secure multiple music licensing deals primarily through “being in the right place at the right time.” Jacques says when he first moved to Los Angeles in 2001, he began teaching guitar and accrued clients that dropped his name around town, which led to gigs coaching Ben Affleck on guitar for Hollywoodland and Emma Stone on bass for The Rocker. A friendship developed with Lynn Grossman of music licensing company Secret Road around the time he released his first solo EP led to licensing deals. “I think just what I naturally like lends itself to [TV placements],” Jacques says. “I just find a group of players I co-write with, and it’s basically just me writing with other people that I find that I like. By nature, I like diversity, so for me it’s about changing it up, finding new people, new energy, new environment.” Jacques advises working in places where talented people in the industry work. Artists who do what they love to do tend to organically find doors opening, he says. “If you don’t like it, you shouldn’t do it. If you like it, it’s just about meeting people and working with them. Chasing it doesn’t play out the same way. A lot of it is patience. In any of the arts, the moment you start forcing anything, it’s not the right way to do it.” Jacques is currently producing and co-writing a children’s record with Renee Stahl, of children’s music group Renee and Jeremy, with contributions from Glen Phillips of Toad the Wet Sprocket and actor/former SNL star Molly Shannon.
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MUSIC CONNECTION
HOT 100 Live Unsigned Artists and Bands Compiled by Bernard Baur, Mark Nardone, Liza Cano HERE IT IS, our annual Hot 100 list of unsigned performers who delivered something special onstage this year. Contributing nominations to 2014’s list were MC staffers as well as freelance writers, club bookers, A&R reps, music attorneys and other industry pros nationwide. To enquire about a review for your band in 2015, check out http://musicconnection.com/reviews/get-reviewed.
Alexis Keegan
Pop Los Angeles, CA http://alexiskeegan.com
Aloha Radio
Indie Rock Orange County, CA http://aloharadioband.com
Amanda Lamb
Country Orange County, CA http://amandalambmusic.com
Andrew Scotchie & the River Rats
Blues/Rock Asheville, NC http://ashevilleriverrats.com
Anthony Starble
Singer/Songwriter/Pop Los Angeles, CA http://anthonystarble.com
The Antics
Post-Punk Skillman, NJ http://wearetheantics.com
Aradia
Electronic/Pop Seattle, WA http://aradiamusic.com
Basic Shapes
Electro-Pop Brooklyn, NY http://basicshapesband.com
Bear Hands
Indie Pop Brooklyn, NY http://bearhandsband.com
Beth Donnelly & Doug Feller
Opera/Classical/Crossover Tualatin, OR http://jeremiahproductions.com
Bhavana Reddy
Indie Rock/World (India) Los Angeles, CA http://bhavanareddy.com
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Big Monsta
Blues/Rock/R&B Huntington Beach, CA http://fb.com/bigmonstaband
Big Ol’ Dirty Bucket Funk Lynn, MA http://bigoldirtybucket.com
The Black Moods
Classic/Alternative Rock Tempe, AZ http://theblackmoods.com
Blue Tofu
Electronica/Pop/Indie Maumee, OH http://bluetofu.com
Brian Whelan
Rock Los Angeles, CA http://brianwhelanmusic.com
Cartographer
Rock/Alternative Los Angeles, CA http://cartographermusic.com
Casey Wickstrom
Blues/Rock/Slide Guitar Los Angeles, CA http://caseywickstrom.com
Characula
Indie Rock/Horror Hollywood, CA http://characula.com
Cheryl Barnes
Jazz/Pop Los Angeles, CA http://cherylbarnes.com
Chris Rivers
Hip-Hop Bronx, NY http://chrisriversmusic.com
Cloud
Pop Rock Temecula, CA http://cloudisaband.com
Cody DiGerolamo
Indie Rock Los Angeles, CA http://codydigerolamo.com
Craymer
Electro-Pop Seattle, WA http://craymermusic.com
Dankrupt
Reggae Rock Los Angeles, CA http://www.dankruptmusic.com
David Choi
Singer/Songwriter Los Angeles, CA http://davidchoimusic.com
Demrick
Hip-Hop/Rap Los Angeles, CA http://iamdemrick.com
Dessy Di Lauro
Neo-Ragtime Santa Monica, CA http://dessydilauro.com
D.O.G.S.
Grunge/Alternative Tokyo, Japan http://reverbnation.com/dogs
Dragondeer
Psych/Blues Denver, CO http://dragondeer.com
Eliza Neals and the Narcotics! Blues Rock Ferndale, MI http://elizaneals.com
Ellen Bukstel
Acoustic/Power Folk/Singer/ Songwriter Southwest Ranches, FL http://ellenbukstel.com/site
Eric Slater
Alternative Rock/Singer/ Songwriter Los Angeles, CA http://ericslater.com
Funktapuss
Funk Hyannis, MA http://fb.com/funktapussband
G-Eazy
Hip-Hop Oakland, CA http://g-eazy.com
Galvanized Souls
Alternative Ventura, CA http://galvanizedsouls.com
Grandhorse
Indie Pop Portland, OR http://grandhorsepdx.com
Honey Locust
Chamber Folk Nashville, TN http://honeylocustmusic.com
Honor By August
Rock Washington, DC http://honorbyaugust.com
Hoodie Allen
Hip-Hop Old Bethpage, NY http://hoodieallen.com
Hornbuckle
Blues/Rock/Soul Denver, CO http://hornbucklemusic.com
Humble Tripe
Orchestral Folk Durham, NC http://humbletripe.com
Huxlee
Alternative Folk Los Angeles, CA http://huxleemusic.com
Insect Surfers
Instrumental Soundtracks, Surf Los Angeles, CA http://insectsurfers.com
Jackstand
Rock Livonia, MI http://jackstandband.com
Jimmy Z and the Ztribe Blues Gardena, CA http://ztribe.com
Joanna Beasley
Christian/Indie/Pop Niles, MI http://joannabeasley.com
Joseph Eid
Americana/Folk-Pop Los Angeles, CA http://josepheidmusic.com
Mana Hardcore
Singer/Songwriter Tokyo, Japan http://manahardcore.com
Mark Mackay
Country Hollywood, CA http://www.markmackayofficial.com
Max and the Moon
The Record Company Rock/Roots/Blues Los Angeles, CA http://therecordcompany.net
Riddle The Sphinx
Alternative Los Angeles, CA http://riddlethesphinx.com
Rio & The Rockabilly Revival
Alternative Chino Hills, CA http://maxandthemoon.com
Roots/Rock n’ Soul/R&B Detroit, MI http://rioandtherockabillyrevival.com
Soul/R&B/Funk Sherman, TX https://fb.com/pages/ JTronius-Qwazar/ 153775031300788
The Moderates
Sandman Negus
Kate Callahan
Pop/Soul Los Angeles, CA http://mollyrothmusic.com
JTronius Qwazar
Singer/Songwriter Hartford, CT http://kate-callahan.com
Kings of Carnage
Commercial Heavy Metal Los Angeles, CA http://kingsofcarnage.com
Kingston & Vice
Garage Rock Long Beach, CA http://kingstonandvice.com
KIVEN
Hard Rock Los Angeles, CA http://kivenmusic.com
Kylie Hughes
Singer/Songwriter Malibu, CA http://kyliehughesmusic.com
Kylie Odetta
Indie Pop/Singer/Songwriter Greensville, SC http://kylieodetta.com
The Last Born Sons
Modern/Classic Rock/Country Toledo, OH http://lastbornsons.com
Lecrae
Christian Hip-Hop Atlanta, GA http://lecrae.com
Louie Bello
Pop/R&B Hyde Park, MA http://louiebello.com
Mae Edwards
Spiritual Pop Los Angeles, CA http://maeedwards.com
Alt. Rock Long Beach, CA http://themoderatesband.com
Hip-Hop Los Angeles, CA http://sandmannegus.com
Molly Roth
Sex Helicopter
Mora Mora
Rock Los Angeles, CA http://moramoratheband.com
Moxy and the Influence Rock Orange County, CA http://moxyandtheinfluence.com
Mrs. Skannotto Alternative Ska/Rock Rochester, NY http://mrsska.com
Nalani & Sarina
Pop/Rock/Soul Central New Jersey http://nalanisarina.com
Obsidian Silence
Hard Rock Prog Band Pasadena, CA http://obsidiansilence.com
Ostrich Run
Alternative Anaheim, CA http://OstrichRun.com
The Phil Celia Band Americana/Roots Newbury Park, CA http://philceliamusic.com
Polaris Rose
Alternative Rock Los Angeles, CA http://polarisrose.com
Project Steiger
Shredding Metal Los Angeles, CA http://steigermusic.com
Rock Los Angeles, CA http://soundcloud.com/ sexhelicopter
Shadows Entwined Metal Los Angeles, CA http://reverbnation.com/ shadowsentwined
Sierra West
Folk Rock San Diego, CA http://sierrarocks.com
Small Leaks Sink Ships Indie/Progressive/Rock Tempe, AZ http://smallleaks.com
Smoke Season
Electronic/Folk Americana Los Angeles, CA http://smokeseason.com
Stacy Burk
Country Pop Van Alstyne, TX http://stacyburkmusic.com
Stars in Stereo
Rock Los Angeles, CA http://starsinstereo.com
STASH
Pop/Dance Los Angeles, CA http://danceSTASH.com
Sylvia Juncosa
Female Guitar Shred Los Angeles, CA http://sylviajuncosa.com
TAN
Pop Los Angeles, CA http://tanofficial.com
Tarra Layne
Pop/Southern Rock Los Angeles, CA http://tarralayne.com
Taylor Locke
Rock & Roll Los Angeles, CA http://tlatr.com/?p=1588
Ten Ton Mojo
Rock/Blues New York, NY http://tentonmojo.com/index
Tin Scribble
Progressive Rock Wyandotte, MI http://tinscribble.com
The Tins
Indie/Pop/Rock Buffalo, NY http://thetinsmusic.com
Trapdoor Social
Indie/Alternative Los Angeles, CA http://trapdoorsocial.com
V2
Rock Santa Rosa, CA http://VSquared.rocks
Viktoria Tocca
Adult Contemporary/AAA Stockholm, Sweden http://viktoriatocca.com
Vinyl Soul
Latin Soul/Hip-Hop/R&B Hollywood, CA http://vinylsoulmusic.com
weareTheBigBang
Alternative Soul Los Angeles, CA http://thebigbangmusic.com
Whiskey of the Damned Celtic Rock New York, NY fb.com/whiskeyofthedamned
White Light Messenger Alternative/Pop Rock Los Angeles, CA http://whitelightmessenger.com
Zip-Tie Handcuffs
Punk Rock Boston, MA http://ziptiehandcuffs.bandcamp.com
December 2014
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Las Vegas Proves ‘Life Is Beautiful’ Once Again In its second year, Las Vegas, NV’s Life Is Beautiful Festival invited fans to eat good food, witness great shows and admire unique art. Part of this year’s event included performances from the Flaming Lips, Foo Fighters, the Roots, TV on the Radio (pictured), Matt & Kim, Little Dragon and many more. See http://lifeisbeautiful.com.
50,000+ Attend SoCal’s KNOTFEST
PAULA TRIPODI
More than 30 years after the U.S. Festival’s seminal heavy metal day shook the grounds where San Manuel Amphitheater now stands, Slipknot’s KNOTFEST burned a new chapter into the heavy metal history books. The San Manuel Amphitheater & Campgrounds in San Bernardino, CA hosted more than 50,000 fans during the Octo. 24-26 destination music festival. At the same time, heavy music fans around the world tuned in to the free KNOTFEST simulcast of band performances, which logged nearly five million impressions.
Cumbancha Party
MICKEY YEH
DANIEL SIWELL
An exquisite ethnomusic performance by the Touré-Raichel Collective (Israeli pianist-singer Idan Raichel and Malian guitarist Vieux Farka Touré) turned into an uplifting reggae party when Cumbancha (http://cumbancha.com) label-mate Rocky Dawuni joined them at the Valley Performing Arts Center in Northridge, CA. The Touré-Raichel Collective performed songs from their latest, The Paris Session, while Dawuni is out there promoting his Thrilla in Manila-style single/video, “African Thriller.” Pictured (l-r): Idan Raichel, Rocky Dawuni and Vieux Farka Touré.
36 December 2014 38
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JEFF KNIGHT PHOTOGRAPHY
LAMA Awards Artists & Actors at Hollywood Avalon The 8th Annual Hollywood F.A.M.E. Award presentations took place as its usual component of the 24th Annual Los Angeles Music Awards event at the Avalon Theater. Actor Danny Trejo, pictured with LAMA Founder and Executive Producer Al Bowman, received the HFA for Career Achievement, Latino Action Movie Star. Also pictured is award winning guitarist Vittorio from the seven-time award winning band V2 (pronounced V Squared), along with his twin brother Vincenzo on drums. The band received a standing ovation at the annual gala, the first ever for an independent band in a quarter of a century. The 11-year-old twins swept all the categories that they were nominated in after fans voted overwhelmingly for them. Drummer Vincenzo is the leading candidate for a Producers Choice Award for International Rock Drummer of the Year at the 25th Annual LA Music Awards scheduled for 2015.
– ANDY MESECHER andym@musicconnection.com
A Real Page Turner
RYAN TAALBI
To promote the release of his new autobiography, Led Zeppelin great Jimmy Page sat with Soundgarden frontman Chris Cornell for an in-depth interview at the intimate Theatre At Ace Hotel in Downtown Los Angeles. Page answered questions about the length and breadth of his long career, from his early session days, to his stint in the Yardbirds, to his groundbreaking work with Zeppelin and beyond.
DAVID KLEIN
Music Connection Rides Taxi To Songwriter Event The 2014 Taxi Road Rally brought together some of the world’s hardest working songwriters in the industry today. Music Connection posted up during the event to give away two ADK microphones and spread MC knowledge. Pictured (l-r): Eric Bettelli, Music Connection Publisher; Taxi’s Angel Stewart; Taxi Founder Michael Laskow; Siri Svay, Social Media Manager, MC; Andy Mesecher, Associate Editor, MC; and Mark Nardone, Associate Publisher, Sr. Editor, MC.
Trainor, Michaelson Go Live In The Vineyard The 14th installment of Live In The Vineyard took place recently in Napa, CA. Highlights included acoustic stripped-down performances by some of the biggest names in music including Meghan Trainor, Train, Ingrid Michaelson, Matt Nathanson, Echosmith, Mat Kearney, Bea Miller and many more. Pictured (l-r) are Trainor and Michaelson catching up backstage before they went on to perform for a packed crowd at the Lincoln Theatre. Get a full photo recap at http:// musicconnection.com/live-vineyard-2014-favorite-moments.
MICHAEL CYGAN
STEVEN JENNINGS
Supremely Funny Tenacious D’s Southern California comedy showcase, Festival Supreme, recently came to an end. Music Connection swung by to hear the great comedic performances of both well-known artists (such as Cheech & Chong, Norm MacDonald, the D, Nick Kroll) to up-and-comers (like Bo Burnham and the Dan Band). Pictured is Brendon Small’s metal performance of Dethklok (from his Adult Swim cartoon Metalocalypse).
Perry Gets Framed Rock icon Joe Perry stopped into the Barnes & Noble location at The Grove in Los Angeles to do a book signing for his recent autobiography, ROCKS: My Life In and Out of Aerosmith, written with David Ritz. Among the crowd that gathered for the event was Music Connection's roving photographer David Klein. A longtime Aerosmith fan, Klein took the opportunity to present Perry with a framed photo of the guitarist with his bandmates. December 2014
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SteveAOKI NEON FUTURIST Lets Them Eat Cake By Daniel Siwek
40 December 2014
musicconnection.com
HE CROWD SURFS WITH HIS FRIENDS, like Skrillex, from atop a raft. He jumps up on stage barriers and hurls cakes in the faces of fans who are either holding “Cake Me” signs or wearing the slogan on t-shirts. He even licensed a “Let Them Eat Cake” t-shirt at retail chain, Forever 21. Which brings us to his company, Dim Mak, a label, events/lifestyle company, and apparel line that he founded in 1996. Yes, Steve Aoki’s entrepreneurial skills should be studied, and aside from being a labelhead/A&R guy (breaking the bands Bloc Party, the Bloody Beetroots, Klaxons and the Gossip), the man is a Grammy nominated producer. And now he’s a gold record artist, as the lead single, “Delirious (Boneless),” with Chris Lake and Tujamo and featuring Kid Ink, off his second album, Neon Future I (which came out in September through Ultra Music, and has guests galore from Fall Out Boy to will.i.am) sold 500,000 and went on to be a Top 40 and Shazam Top 10 track. Aoki is also a man on the move, as this interview was done in three parts between exiting the airport, stopping in the studio and from a San Jose hotel where he was on one of his 250 tour dates this year. Music Connection: With such a dizzying tour schedule, how do you find the time to be creative and make songs on the road? Steve Aoki: That’s part of the adaptation to this kind of lifestyle, you have to be able to do them on the road. I have multiple studios that I work out of: I just built one in L.A. ‘cuz we just moved offices from Dim Mak and I sold my house where I produced 90 percent of Neon Future I. I just built a studio in my apartment in Las Vegas, and I generally produce off my laptop. You have to make the most of your time; you have six to eight hours to kill before you even start playing a show, so there’s actually a lot of downtime on the road.
MC: Can you talk more about your entrepreneurial instincts? Aoki: As a kid I was always doing creative things, like making and distributing a ‘zine, and doing it consistently so people would know about whatever brand or band I was doing. I did the same thing in college: I was writing for a ‘zine, writing a column, doing reviews, interviewing bands. I was in a band, I was putting on shows. I started my label Dim Mak [in 1996], and if you looked at how much money was spent in doing all those things, it was next to nothing. It wasn’t about how much money you could make at the end of the day back then, it was more about the product, making sure that it represented what I was trying to represent in the best way I could do it. I’ve always kept with that ethnos with anything I’ve been doing, and even if it doesn’t have a huge financial success, as long as it has the success that makes me happy, then I’m okay with it. The financial success won’t dictate where it should go. Essentially, when that happens the brand changes and that is when the idea “selling out” really deems true. MC: Speaking of brands, how were you able to expand your interest in music into a full lifestyle brand? Aoki: The branding actually all started way before the DJing and way before the label, like the idea of a lemonade stand that kids have in the front of their house. When I used to put on shows I would screen t-shirts of my band in my mom’s closet. I would get vintage shirts, screen my band on there and sell the shirts for four dollars so I could make the extra two dollars. And I carried the same DIY principle throughout every branding/business decision throughout my career, whether I was starting Dim Mak or going to Kinko’s and the copy centers and printing up t-shirts. I’ve been doing that since I was 15. I got into apparel in 2005 when I was offered a free booth to sell Dim Mak t-shirts in exchange for a DJ set. So I got flung into the deep end of the pool of selling t-shirts alongside all these clothing brands and pretended to be a brand. I didn’t know what the fuck I was doing, but I learned the ropes as I was going. I partnered up with a friend of mine and in over two years of selling t-shirts I started my own tradeshow called United, and that’s when we brought in our own brands and we sold real estate inside of a room for brands to sell their line. So whenever I get involved with something I always end up trying to expand and make a community effort out of it. MC: Most EDM artists don’t brand themselves like rock bands; do you recommend that as a way to stand out in a crowd? Aoki: The difference is that I came from being in a band, and the only way to make money is when the fans buy t-shirts. Ask any band and they’ll tell you that their merch is how they survive on the road to pay for the costs; that’s a given. And the culture is for people to buy band t-shirts. I mean, I have a million of them. T-shirt culture didn’t exist in DJ culture, now it does because there’s a huge forum for it to exist. For electronic dance music, there’s no Rocawear, Sean John or whatever, like in hip-hop, and that’s because the culture’s so new. People are trying to do it right now, but it’s difficult. Like you said, Dim Mak is a lifestyle brand, and that’s because I come from that world of incorporating all these different elements. Obviously what you’re listening to is not the experience entirely: what you wear is part of that experience, what you’re feeling, seeing, hearing, touching, tasting, is as much a part of your experience as listening to it.
“If you don’t test the boundaries, then you’re going to stay in the middle of the road, and that’s the last thing I want to be.”
MC: What’s up with that Dim Mak van we see around town? Aoki: I bought the van at a time when we were always using an Econoline for touring. That’s another part of using your resources properly and efficiently: I bought the van and then I got sponsors to wrap the van, so I basically got a free van out of it. That is how Dim Mak had survived to this point, by working and having great partners who understand our brand. Whether it’s the van, promotion, radio, or development and A&R, all of these are tools to make sure that as many people as possible can hear the music. I’ve always been savvy with producing business, whatever it might be. Business doesn’t always have to be about a financial outcome it can be with a personal satisfying outcome, as long as the product is respected.
MC: You were a promoter and label head before you were a remixer, DJ and album artist. How do you account for that almost reverse evolution? Aoki: I couldn’t go from promoter to album artist right away; that took a course of 10 years. I played a GoPro show last night for their annual takeover of Great America and I talked with Nick Woodman, the CEO. It was awesome. I love being able to talk with people in different fields of work who are so passionate about what they’re doing, and Nick is absolutely passionate about GoPro. He asked me how long I’ve been December 2014
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DJing and I was like, I’d say 12 years from start to finish, and he was like, yeah same with us, but people don’t realize how long that is. He said, “I’m an 11-year overnight success and you’re a 12-year overnight success.” But all that time isn’t out there in the public eye; all that time is about building. I don’t want to bury all these little points, because they’re significant in the whole story of the success I’ve been able to create. MC: You must’ve faced plenty of obstacles, from those DIY days up to today. How did you tackle them? Aoki: When I think about it, the first thing that I hear a lot is, “I just don’t have the money to do something,” but that should never be an obstacle. I have a tattoo on my arm, “By Any Means Necessary,” and that’s the slogan that Dim Mak runs by. [Regarding our] van, we didn’t have $17,000,
but we bought it and then we figured out how to pay it off. I’m a deadline oriented person, and if I don’t have a deadline sometimes things just drag, so you‘ve got to force yourself to create your own deadlines when you’re doing your own projects, and you sometimes have to mortgage your fucking house to make it happen. You have to put yourself in the red zone, where your heart is beating and you have to figure it out or else your going to get fucked. It’s been a long growth with Dim Mak, 18 years being an indie is near impossible, but we’ve dodged so many bullets and we’ve survived so many crashes, but the big thing and any CEO of any company can say this, your power and your business is in the people you hire, I felt like it took time but I have a fucking incredible team like an astoundingly incredible team right now in Dim Mak.
THE GRAMMY MUSEUM® PRESENTS
ON OPEN EXHIBITI 2015 MAY 10, 4 1 0 2 3, CEMBER 1
DE
WWW.GRAMMYMUSEUM.ORG 42 December 2014
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”First thing that I hear a lot is, ‘I just don’t have the money to do something,’ but that should never be an obstacle. I have a tattoo on my arm, ‘By Any Means Necessary,’ and that’s the slogan that Dim Mak runs by.”
MC: Your career evolved along with the social media explosion. How have you embraced it? Aoki: I’m definitely of the mindset of clinging on to new progress and I’m always trying to find out the next thing, whether it’s the next DJ, the next producer, the next band, the next technology, the next fashion line, the next whatever it might be. My album is called Neon Future I because it’s based on this idea of looking towards the future in a utopian way and celebrating the convergence and collaboration between technology and humanity. So going back to an era of time when there was no social media, we were a completely different generation of downloading music and downloading life, and being able to absorb and act quickly is part of the reason why we didn’t fail as a business. We were the first label to give away music when the Napster thing was going on. It was a big no-no to give away music and no one was doing it, but we made a public statement about how we’re going to give away our biggest single. And when things flipped from physical to digital we were giving away free music. That was unheard of. People were like “What the fuck are you doing? You’re going to cannibalize your business by doing this.” And I was like “We have to stay ahead of the curve, and this might be the wrong decision, but you’ve got to take those risks.” That’s part of embracing future concepts. Some of those ideas obviously might not work, but if you don’t test the boundaries then you’re going to stay in the middle of the road, and that’s the last thing I want to be. MC: Why is Dim Mak partnering with Ultra Music? Aoki: Dim Mark is my baby. It’s its own machine, but we actually are more like an underground label, we don’t service to radio, really. We do our diligence, and we were very fortunate to have big wins for the Chainsmokers’ “#Selfie,” which did 10 million around the world, and was the first Platinum record on Dim Mak in less than a year. So I’m really proud of that success. But that was more of a cultural [phenomenon] record than a dance record. I think the only reason why I would sign to a bigger label like Ultra is that they already have the inroads to push us on to radio, and that costs money and a whole team and relationships. And I don’t want to put Dim Mak in that world. We’re actually a
fruitful business without having to enter into a financial world where we have to really put in some serious money. MC: What do you have to say about the collaborations on Neon Future I? Aoki: “Back to Earth� with Fall Out Boy was great. The “Empire of the Sun� feature [the title track] was one of my favorite songs that I’ve ever produced, period. And it’s a definitive song on the album; it really ties in the sonic musical element to what Neon Future I should sound like. The other songs on the album are really true meetings of the minds between myself and the other artists. I think “Afroki,� with Afrojack, is going to be a fan favorite, just like our “No Beef� is such a global record. I love the idea that this song reverberated to all these people around the world. And it never really gained any traction on the radio, so it was purely from people discovering it online.
If I’m preparing a set, I make what I like to call “VIP edits,� that are exclusive edits of my tracks that no one else has, to make it special for my set and to use it later on as well. I’ll do more of the experimentation of the technical tricks in the clubs where I’m testing ideas, but I treat festivals more like the final paper. That’s more like the “greatest hits� and I don’t want to fuck with the mojo of the hits so much unless it’s going to complement and make it bigger. MC: What’s the connection between Neon Future I and your interest in funding and researching brains? Aoki: I’m interviewing different writers, philosophers, scientists and talking to them about the future, and a lot of them are scientists who are working on the human brain. So at the same time I’m raising money, I want to raise the awareness. The idea of sharing information is the same thing as being a DJ. I’m sharing
the music that makes me happier, the music that I’ve created for all these people. Music is a tool to really boost your feelings or mood, it’s what makes people happy, it’s what makes people feel something. This information [about the brain] does the same thing. To learn about all these things about the future that we can strive for makes you feel something, it makes you get excited, and inspired. Even from Dim Mak’s standpoint when I was developing artists. I was a crusader. It was a religion for me to go and introduce people to block parties and it’s the same concept with producing music and sharing information. Contact Alexandra Greenberg, MSO PR, http://msopr.com For more about the artist, see http://steveaoki.com and Twitter @steveaoki
MC: You have more stage antics than most EDM artists––such as crowd surfing atop a raft––but what’s up with the cake throwing thing? Aoki: 2009 was my second time at Coachella and I wanted to make it a spectacle. I wanted to do some crazy shit and make everyone remember something, and that’s when I introduced the raft idea. I’ve got two rafts ready to go for tonight’s San Jose show. These are all tools to make people feel something. The cake was introduced in 2011 after we had a success with a video for “Turn Up the Volume� by Autoerotique, which had all these cakes exploding in people’s faces. It went viral, and I just had this feeling that people coming to the show would have seen that video and they would make that connection. And I did that for six months and then put a video of me caking someone on my YouTube channel––once again using my own social media to really help spread the word––and that went viral. Then a few months later it started happening: we’d see signs coming in the front row [saying “Cake Me!�]. That was in 2011. You multiply that by 250 shows around the world every year and it just becomes a phenomenon. MC: What’s your studio and live-gear setup? Aoki: For my apartment, it’s pretty simple. For monitors I got Neumann’s KH 310s, and then for the MIDI keyboard I’ve got a Korg Triton. It’s a great setup for anyone who is not trying to spend a lot of money. When I’m on the road, I don’t even use the keyboard, I just paint in there on my computer. You just need a good set of monitors that you can train your ears on. I record into a MacBook Pro and used all the stock plug-ins from Abelton for Neon Future I. I spent my 10 grand on the Waves plug-in, and there’s so much shit in there I don’t really know how to use, to be honest with you. But it’s nice to have because a lot of producers end up using Waves. MC: Can you demystify what you do onstage as an EDM musician? Aoki: Generally, when I’m putting together my set there is an emotional narrative that is happening with the song. So I think of how the crowd is going to react to the song in accordance with the song before it, to the song after it, and I want to take the crowd on this journey. I am giving a Steve Aoki musical experience with all these songs mixed together: and in some cases I’ll hit sample banks, I’m looping a cappellas or edits I’ve made beforehand.
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December 2014
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75 TIPS: T H E B E ST C A R E E R A DV I C E O F T H E Y E A R COMPILED BY ANDY MESECHER There’s nothing more valuable than career advice from those who’ve “been through it.” And Music Connection’s interviews are loaded with it. So we’ve compiled what we feel are the most helpful tips, insights and inspirations from the many artists and music people we’ve spoken to during the past year.
FIRST THINGS FIRST…. Keep going, keep creating and keep pushing yourself. Don’t give in to industry pressure to create something that’s not authentic for you. Listeners are really good at telling when something is authentic and when it’s not. And if they like it, then they’ll like it. If you’re in it for the money, get out—your chances of making a career and supporting a family are slim to none. There’s a saying—don’t do music if you want to do music; do music if you have to do music. I believe that. None of us got into this with a plan B. It was do or die in music. – Dan Reynolds of Imagine Dragons Jan.
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S O N GW R I T I N G One consistent thread of all writers I work with is that they’re feeling, sincere dudes. We talk honestly and dig in before we write, sometimes as long as an hour. Not coincidentally, those are the songs that are the most sought after by artists and A&Rs. - Ricky Reed, songwriter July I’d love to control the narrative that people interpret out of the music, but I learned a long time ago you can’t. Make the song be about what they want it to be about. At the end of the day, their interpretation of it is probably cooler than what you actually meant when you wrote it. - Slug of Atmosphere June
You have to get excited about something within the first 30 minutes. If you’re not, then move on. There should be something beautiful early on. - Niles Hollowell-Dhar, the Cataracs (producer) March Even though you may not like a song or an artist, [a hit] is still worth a listen. Hits are hits for a reason, and they are definitely hard to come by. Each has some sort of magic––as well as some common elements––so something can be learned from every single one. - Bobby Owsinski, producer/engineer, author Feb. Detune your guitar to something other than the standard E-A-D-G-B-E. Move your B up to C, your G down to F#... that sort of thing. Now start
FESTIVAL ADVICE J Roddy Walston, J Roddy Walston and the Business July If you’re playing in the day, [it’s easy to] get caught off guard that you can’t see your pedal lights. So tuning is really tough. If you can get by on a very simple setup, do that. Particularly if you’re having to rent gear or they’re making you use the back line. If you can play through a Fender Deville or something that’s very standard, they’ll have four of them. Put the priority on the performance of the actual festival. If you’re not sure if you can play a 3-in-the-morning after-show and then get up the next day and do your best show, then say no to the after-show. You don’t want to walk away feeling like you didn’t hit a homerun.
Where you stand in relation to your monitors makes a big difference in what you hear on stage. Stay relatively close to your monitors. Position them upwards toward each ear at a 45-degree angle. If you can see down the opening of the horns in your monitor, you have them positioned optimally. - Jeannie Deva, celebrity vocal coach May You will meet the house sound guy when you load in to do your sound check, so always introduce yourself to him and make a note of his name. (I always Sharpie the house audio people’s names onto my hand at load-in time.) - Andy Reynolds, concert manager, audio engineer, author June
S LU G /AT M O S P H E R E
REHEARSING TIPS from Jeannie Deva, celebrity vocal coach Aug. Call “vocals only” rehearsals. Many details go into blending good sounding vocals, so coordination of lead and harmony vocals deserve separate rehearsals. From the audience’s perspective, vocals are the most important instrument in a performance or recording (no offense to instrumentalists). A cappella or quiet guitar/piano accompaniments allow you to really hear the vocal quality and blend. Record your sessions to identify what needs to be tightened up. Practice on camera. To prepare for TV appearances and videos, practice performing to your video camera as though it is a live audience. Different emotional messages from song to song will have varied musical tone and should also LOOK appropriately different. During playback you will see whether your movements and expressions are emotionally consistent with the song.
improvising chords and melodic shapes as if you were playing a standard tuning. Why? The odd tuning will give you melodic and harmonic ideas you’d probably not have found otherwise. Be prepared for weird sounds, but you’ll probably stumble on something that’ll get the creative juices flowing. - Gary Ewer, music teacher, clinician, composer, arranger July
PERFORMING Artists must be strong performers today. Touring is big now. You need to get people into your music and if an artist doesn’t have stage skills, they need to develop them. - Dallas Martin, SR. VP A&R Atlantic Records Jan. Good microphone technique involves not only handling (not cupping the microphone), but also knowing the correct way to sing into it. Your microphone should be at a 90-degree angle to your mouth for the mic to pick up as much of your vocal as possible. Avoid singing “over the top” of your microphone, i.e. holding it upright near your mouth like a lollipop, as you will be singing into the side of the microphone and there will be less of your vocal being picked up. - Andy Reynolds, concert manager, audio engineer, author June
Use In-Ear Monitors (IEMs): If affordable, consider being fitted for custom them. An attractive alternative to wedge monitors, IEMs offer a high-quality signal to your ear that allows you to clearly hear the mix at any chosen volume. They provide you with better sound, improved stereo balance, protection against hearing damage from loud stage sound and more. Companies to choose from include Westone, Sensaphonics and Ultimate Ears. - Jeannie Deva May It’s very unlikely that someone will see you play at a showcase [like SXSW] and want to immediately whisk your career to the stratosphere. You have to garner their interest before they come and see you. If you’re able to get the people into the room, then the showcase can close the deal. - Jesse Kongos of Kongos July
B O O K I N G /TO U R I N G Someone who’s thinking about promoting should treat it like a business. Present yourself in a positive way. Any business who uses Gmail, Yahoo, etc. looks smalltime. If you’re serious, you have to have your own URL and email address connected to that. It presents a far better image. It’s not just what you do at the event. It’s the whole thing. - Tom Ingram, owner/founder Viva Las Vegas March [If you want to start your own festival], be able to sustain a financial loss at the beginning. These are risky endeavors and there’s an extraordinary learning curve. Partner up with someone who can help you navigate all the trials you need to December 2014
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SELLING MERCH Sept. BOBBY OWSINSKI
MAKE THE MOST OF STUDIO TIME July
Reasons Merch Isn’t Selling
Before Booking Studio Time
Your merch is the same on every tour. You can’t expect people to purchase an item they already have, even if they really want to buy something from you. Try to vary either the design, color or add new items so the hardcore fans have something to buy.
Talk with the studio manager or director of operations about your project. They can help you determine what you need to accomplish your goals. Visit the studio. Check out the rooms, gear and personnel.
The location of the merch table is bad. Just like with real estate, with a merch table it’s all about location, location, location. You can have the most attractive merch in the world but no one will buy it if they can’t find it.
Consider using a producer who knows his/her way around a studio and the recording process. Note: Producers often get better rates due to repeat business. If you’re in a band and not using a producer, choose one person to be “in charge” of the session.
You don’t take cards. This is inexcusable these days, with services like Square and PayPal that are so inexpensive and easy to implement. How To Sell An Unpopular Item Bundle it. Put it into a package with a hot selling item at either a slightly higher cost than the hot item, or even at no additional charge. You may sell more of your hottest item because of the “extra bonus.” Make it the “Pick of the Week.” Just saying something is cool can make it so. If it’s the lead singer’s “favorite merch item,” that could be enough of an endorsement needed to close the sale. go through, because there are a lot. Make sure everybody is going to be safe and that you’ve got a plan in place. And make sure you manage your expectations. It’s a difficult business to get into as a grassroots startup. It’s tough to do in today’s marketplace. - Ken Hays, Gathering of the Vibes founder July [When you play house shows], the competition is taken totally out of it. If you can cultivate your own thing with your own audience, there are plenty of people to go around––if you are willing to work. - Shannon Curtis, singer/songwriter June
C H R I STO P H E R T Y N G
ST UA RT E P P S
A RT I STS I N- ST U D I O If you can record a great album with your own money—or with small investors or donors—to present and be used for sale, distribution and promotion, then you won’t have to be in the studio with a label, spending their money and time on creating a product you could have made DIY keeping more ownership rights. If you bring a final product to the table, they can do distribution and support the things that will make more money, with less to be recouped. - Loren Weisman, music prod. and consultant March One way to get a good deal is to book the whole project—a full album from start to finish. That’s becoming rare today because it’s a produceroriented market. There’s usually more than one producer involved in a recording, and each one may book a different studio. So, full-service projects that book a block of time will get the best rates. - Jason Carson, VP of Operations, GM at The Record Plant July
Estimate the time you’ll need to record. Note: It’s common to go over time. So, add 10% to 20% to the time and your budget. Get everything in writing, and note how “down time” caused by equipment failure is handled.
During Studio Time If a player or singer has difficulties, move on to something else. Then go back to it later. Take short breaks every now and then ––especially while mixing. If you’re mixing at the studio, take mixes home and listen to them on different devices before finalizing the mix.
Afterward If your experience was great, let the studio know. Send a “thank you” note. Refer other people. That can really pay off when you record there again.
LISTEN UP, PRODUCERS… When you get 200 tracks of information, narrow it down to 40 or 50. If you’ve got 60 tracks of strings, reduce that to three stereo pairs. Keep the session manageable. Work in broad strokes and the results will be much better. Ron Fair [EVP of Virgin Records] once said, “I’ve never signed an artist because I liked the sound of the kick drum.” - Dave Pensado, producer/engineer, cocreator of Pensado’s Place July You have to keep making stuff that sounds like shit for a while and know that that’s okay. Your mess-ups can sort of define your sound. Even [my song] “G6” was really an accident. I had this [Roland TR-] 808 and I put distortion on it. There was a melody on top of it. I accidentally dragged the MIDI from this bell over to the 808 bass. - Niles Hollowell-Dhar of the Cataracs March
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If the song isn’t there, no amount of gear will make it great. Gear will never be the magic sauce that will make a song a hit. Likewise, you can’t blame the equipment when a song isn’t good. - Christopher Tyng, composer/prod. Sept. Talent is important, but being focused and having the will is perhaps even more important. The artists that I’ve seen succeed are the ones that are almost desperate for it to happen. Elton John always wanted to be number one and he never gave up. But the greatest artists originate within teams of people— producers, engineers, studios. - Stuart Epps, producer (Led Zeppelin, Elton John). Aug. You’ve got to be realistic. You’ve got to step outside that box you’re in when you’re in the studio thinking your music is the best in the world. The reality is, it may not be, so you’ve got to be open to criticism. Listen to people’s advice and make sure you keep that team that helps you across that bridge. A lot of artists forget who helped them build that bridge and, when things go wrong, that bridge is no longer there. - Sat Bisla, Pres./Founder A&R Worldwide May
F I L M /T V C O M P O S E R S You can be a mediocre composer, but if the client gets what they need on time and on budget, they’ll come back for more. That’s as important as how effective you are at composing. Taking care of your clients and seeing that they’re satisfied is the secret to success in this business. - Jack Wall, composer/producer June There’re a lot of people in this business who stand on giant shoulders financially. I think wait-
DJ ADVICE FROM MICK, DJ/PRODUCER Feb. Play music you really enjoy. Now, every DJ in the world—from the guy doing your uncle’s lame wedding to Tiësto—occasionally has to play some songs they don’t like. However, finding a way to remix those songs, or sandwich them between songs you do like that make sense sonically—that’s how you really create your identity as a DJ. Just make sure you keep people dancing or vibing—whatever the mood calls for. Recognize that song selection is way more important than DJ-Battle skills. Not every basketball player is going to be LeBron James—but they have to understand the rules before they step on the court. That said, I’d much rather hear a DJ with amazing selection and up-and-coming mixing skills than a guy who can scratch with his left testicle and plays horrible music all night. Vary your set lists. A few months ago, a mega-popular DJ got “busted” in a national magazine for admitting he just plays the same songs in the same order every night. This isn’t fun, nor is it cool. Find new ways to play the same songs. If they are your own personally produced songs, remix them to add something new for the people who paid money to see you perform. This just isn’t good for your audience—it’s good for you and your mind. I feel super refreshed when I go into a gig with a crate of new awesomeness. New music is like a weapon, so sharpen your sword. Be respectful to everyone you meet in nightlife. From the doorman to the bartender, and all the way up the food chain to the club owner. You never know where that person will end up next, and how they can help (or hurt) your career. One person telling people you’re an arrogant diva holds way more weight than 50 people saying you’re a nice guy. However, that guy pouring you drinks could be the Director of Marketing next year, so tip him if he is good, and be nice even if he isn’t.
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ing for the right project––if you can manage to do it—is great, but it depends where you are in life. I didn’t move to L.A. until my 30s. If you’re fresh out of scoring school, I would say work on your body of work. Take what you have to take to continue to write music. - John Swihart, composer (Napoleon Dynamite, How I Met Your Mother) Nov. SUBMITTING MUSIC FOR MUSIC SUPERVISORS/FILM/TV If you are sending your music to a production company that is creating a new TV pilot, first listen to the songs that this company has chosen before and see what the songs have in common. Is the BPM always the same? Do the songs have a specific sound? Do they have a quick shoutout chorus? Is the hook melody sustained or legato? Is there a pre-chorus or bridge? The right arrangement, lyrics, hook, beat and BPM are key to getting your song licensed. It is also helpful to get familiar with the show you are pitching and its characters. - Susan Hyatt, singer/songwriter, artist coach, author June [When submitting to a library] there’s something to be said for doing your homework and knowing the players. The blind emails I respond to are the ones where people have done their homework. They’ve looked at our artists. They’ve referenced a recent sync. I know that’s not much, but that person went that extra step. Take the extra step that the person next to you is not willing to do. If you do that, it always shows. - Justin Shukat,
President, Primary Wave Music Publishing Jan. If a company believes in you and sends you a pitch for a show, read the pitch requirements carefully and follow the instructions. Do not take any liberties. If they want a song that sounds like Katy Perry or Daft Punk, make sure your song sounds that way. Some artists may think of this as selling out, but instead think of it as “selling in.” Since the beginning of time, composers have been commissioned by courts and kings to create music. If you can create great commissioned music, then you are a true musician. Always remember you are in the “business of music” not just working in the music business. - Susan Hyatt singer/songwriter, artist coach, author June Sometimes it’s the label; sometimes it’s the publishing company Kobalt [Music Group who get us synchs]. Occasionally our management gets us placements, but probably not as much as the label or publisher does. In the industry, everyone knows everyone so you probably don’t have to be in publishing to get a placement. You may S U SA N have friends in the advertising industry that want to work with you. - Gus Unger-Hamilton of alt-J Nov.
H YAT T
We’re trying to get as many people into our music as we can. Sometimes if someone’s going to put your song on a commercial, but no one’s going to hear it anyway, but they’ll throw me several thousand dollars, why not. I don’t think we’re that prideful. I’ve heard the Black Keys talk about saying no to a lot of things early on; now they’re looking back and saying that was dumb. - Clint Culberson of Modoc Feb.
MUSIC BUSINESS J U ST I N S H U K AT
Some people get into music because of the lifestyle. But you’ve got to work. We practiced eight hours a day and played five nights a week on the strip in Vegas to support ourselves in the beginning. We had no money. And we learned, like, 60
Beth Donnelly Crossover/Pop-Opera Artists CROSSOVER/ POP-OPERA ARTISTS & Doug Feller
Husband & wife duo collaborate in concerts throughout Europe and North America.
FREE song from their New Album
My Heart is ForYou Il mio cuor’ è per te
Download it at
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Mu Connecsic tion
Hot 10 Artist 0
cover gigs as well as writing our own songs and did that for years and played to empty bars. - Dan Reynolds of Imagine Dragons Jan. Until you’re a big enough star that you don’t need press, say yes [to opportunities]. I’m always surprised when bands are not thankful. They’re like “Oh, this is stupid. This is not why I joined a band.” Well, if you only want to play music, stay in your basement. It’ll stay pure. You won’t have to do anything you don’t want to do, other than working a normal job. You could listen to a terrible manager at Starbucks scream at you or you could talk about yourself to somebody. My advice would just be to roll with it and have a good time. - J Roddy Walston of J Roddy Walston and the Business July You may have already signed up with a PRO. But here’s what you may not know. ASCAP, BMI
MANAGEMENT CONTRACTS – ADDITIONAL POINTS TO CONSIDER March Do NOT ever sign any contract without first getting it reviewed. Check the term of the agreement––especially how option periods are exercised. Determine what income is commissioned, i.e. gross, adjusted gross or net. Include performance conditions and benchmarks to ensure real results. Make sure there is a Sunset Clause to diminish commissions over time. Include an Accounting Provision for statements and audits.
and SESAC do not pay the same rates for all types of music royalties. They have negotiated radically different rates for radio and domestic TV performances with vocals. Make sure to choose the right organization for your specialty. You could potentially lose thousands of dollars if you have joined a PRO that pays less for what it is that you do. Terminating your PRO contract is not easy and your show could be off the air by the time you are able to switch to the better paying PRO. There are strict dates for termination and some of your catalog will not be able to follow you to your new PRO. - Susan Hyatt, singer/ songwriter, artist coach and author June
SAT B I S LA
The core fundamentals never change. If you don’t have good music, you’re not going anywhere. If you don’t have a great work ethic, you’re not going anywhere. And if you don’t have a good team, you’re not going anywhere. You’ve also got
to take risks, because if you’re not willing to you can’t expect others to take risks for you. - Sat Bisla, Pres./Founder A&R Worldwide May I think there’s such a thing as oversaturating your fans. If my favorite band in the world put out a 10-album compilation, I’d be like, “Eh... This is too much for me to comprehend.” But on the same note, I think it’s important for bands to continually give their fans something to be excited about. Dan Reynolds of Imagine Dragons Jan. It is vital that bands schedule business meetings, separate from rehearsals. The biggest problem I see is that bands will meet to refine the music but not meet to deal with their business issues. Meetings should be held when there are NOT problems—clearing the air BEFORE problems come up. Talk about important things like money, ownership of the band name and publishing. - Lee Jay Berman, professional mediator Jan. If somebody wants to be a music lawyer, they’re best served getting other kinds of experience, because when you’re an entertainment lawyer you’re kind of full-service. If your client gets sued and you don’t understand the process of litigation, I don’t know how you supervise it. You turn it over to a litigator and then you have to rely on that person to do the right job. - Gary L. Gilbert, attorney Aug. When you sell through iTunes, you have no idea who bought your album, T-shirt or CD. When they buy directly from your website, you give them the opportunity to sign up for your mailing list. That artist-to-fan connection is extremely important. That’s how you’re able to remain relevant, by sending them remixes or acoustic videos. You
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can’t do that through iTunes or Spotify. You can only do that through your website and mailing list. - David Dufresne of Bandzoogle Oct.
E D U C AT I O N There can be a lot of reasons [some students don’t succeed in music school]. Some use classes to network rather than learn—they’ll hound you about getting them a deal. And, there are a few who like talking better than listening and will ask 10,000 questions that have little relevance to the subject matter, and might even debate what you’re trying to teach them. - Owen Husney, UCLA Extension May Belmont helped us get our feet wet, and in the relationships and with the contacts that we made. But getting out on the road, learning the hard way, and learning on our own has been the best way. - Brian Kelley of Florida Georgia Line Sept.
SOCIAL MEDIA Too many acts use [social media] like a megaphone, constantly promoting themselves and asking people to do something for them. That gets old fast and it’s no fun [for fans]. You should encourage conversation, ask questions and give people a reason to engage. - Ari Herstand, artist, music blogger Sept. Buying numbers is the worst thing an artist can do. Their viral rate will go down because fake fans don’t like, share, tag or post. Industry is especially sensitive to it, since they’ve been
burned before. Furthermore, Facebook will punish you for it and YouTube will take you offline. - Hunter Scott, founder, La Famos PR Sept. Choose the right social network: Not all social networks are the same. And, some fan bases prefer one over the other. By knowing your fans, you can choose a social media site that is relevant to your brand, fans and music. - Music Connection, Sept.
M A NAG E M E N T Obviously, it would benefit the artist if the manager must accomplish a specific result. By inserting performance conditions with time limits, the artist can have the option to terminate the agreement if the results (e.g., a record deal, income, an endorsement) are not obtained. - Ben McLane, music attorney March [Artists sign the first contract they’re offered because they’re both excited and intimidated.] They’re afraid the deal will go away if they question it. It’s a lack of confidence on the artists’ part. [In reality, music biz professionals expect questions, clarifications and negotiations.] As long as they’re fair and reasonable people. Everything is negotiable in this business. Artists should always have someone knowledgeable review (and possibly negotiate) a contract before they sign it. - Burgundy Morgan, music attorney March Artists should NEVER grant an unrestricted ‘General Power of Attorney.’ That would give the manager total power and control without having to consult with the artist. There must be strict limitations on it—like only when the artist is unavailable, has been notified and approves. - Ben McLane, music attorney March
I N S P I R AT I O NA L Imagination is better than talent. I don’t think I’m the best musician but I’m good at putting it all together; imagining something when there’s nothing. - Salaam Remi, producer May People who don’t make it are people who give up. Nothing’s going to be given to you in any way. If you keep trying, you get better, eventually you’ll do something great. Don’t be satisfied if something is just okay. Do something you love and people will catch on. - Jeff Bhasker, producer (fun., Kanye West) Feb.
J E F F B H AS K E R
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Don’t mistake activity for achievement. That means you can be as busy as you want, but
W I Z K H A L I FA checking things off your checklist means nothing. - T. Mills, artist Aug. At the end of the day, Wiz said it best… Don’t take anything personal; have confidence in your own business structure and just be aware of your surroundings. You learn as you go; everybody’s story is their own so you can’t take one person’s experiences and make guidelines out of that. It’s the energy that you put out, you get back. - Wiz Khalifa Aug. For more great tips and career advice throughout the year, sign up for the free Weekly Bulletin newsletter at http://musicconnection.com.
Download at www.musicconnection.com/industry-contacts
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TOP 25 NEW MUSIC CRITIQUES
EACH YEAR, MUSIC CONNECTION STAFFERS listen to scores of demos and unsigned band releases that are submitted to us. Of all these submissions, here is the cream of the crop—the 25 highest scorers, as well as an extra 20 Top Prospects. Each total score you see is based on the merits of production, lyrics, music, vocals and musicianship. MC welcomes all unsigned recording artists to send material to us in 2015 by first checking out “Get Reviewed” at http://musicconnection.com.
Truth AKA Trouble . . . 8.8
Contact: avengersproductions@gmail.com Web: soundcloud.com/thetruthsworld
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Lindsey Webster . . . 8.6
Contact: lindseywebster.music@gmail.com Web: lindseywebstermusic.com
Charlee Remitz . . . 8.6
Dirty Shannon . . . 8.4
JONI . . . 8.4
Contact: charlee779@gmail.com Web: charleeremitz.com
Contact: dirtyshannonmusic@yahoo.com Web: tinyurl.com/plq9h8s
King Washington . . . 8.4
Hornbuckle . . . 8.4
The Silent Scene . . . 8.4
Jim Vierra & Friends . . . 8.4
Walter Smith III . . . 8.3
Bhavana Reddy . . . 8.2
Contact: linsky@hunnypotunlimited.com Web: kingwashingtonmusic.com
Contact: james@thekingdomgroup.co Web: jvmusic.co
Teach Her Treason . . . 8.2 Contact: teachhertreason@gmail.com Web: facebook.com/teachhertreason
Contact: dougdeutschpr@gmail.com Web: hornbucklemusic.com
Contact: erikprivert@gmail.com Web: waltersmith3.com
Von Grey . . . 8.2
Contact: judikerr@aol.com Web: vongreymusic.com
Contact: joni-music@hotmail.com Web: joni-music.com
Contact: general.manager@thesilentscene.com Web: thesilentscene.com
Contact: bhavanareddymusic@gmail.com Web: bhavanareddy.com
dale . . . 8.2
Contact: reesfinley@gmail.com Web: daleofficial.bandcamp.com
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Sean Armstrong . . . 8.2
Paddy Usher Band . . . 8.2
Dominic Gaudious . . . 8.2
Alfa . . . 8.0
Gift of Destiny . . . 8.0
20 Twen . . . 8.0
Ari Herstand . . . 8.0
JoeCat . . . 8.0
Minnie Birch . . . 8.0
Contact: djfacemusic@gmail.com Web: djfacemusic.com
Contact: mgmt@alfa-music.com Web: alfa-music.com
Contact: ari@ariherstand.com Web: ariherstand.com
Contact: paddyusherband.com Web: paddyusherband.com
Contact: contact@giftofdestiny.com Web: giftofdestiny.com
Contact: iDreamMusicLabel@Gmail.com Web: SoundCloud.com/JoeCattt
Contact: dominicgaudious@gmail.com Web: dominicgaudious.net
Contact: nick@susanblondinc.com Web: nofeelingsmusic.com
Contact: minniebirch@hotmail.co.uk Web: facebook.com/minniebirch
TO GET YOUR MUSIC CRITIQUED IN 2015, CHECK OUT
“GET REVIEWED” The Regal Peaches . . . 8.0 Contact: theregalpeaches@gmail.com Web: theregalpeaches.bandcamp.com
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FEiN . . . 8.0
Contact: FEiN@FEiNtimes.com Web: FEiNtimes.com
musicconnection.com
TOP PROSPECTS
2014
Adrian Croom
Sammy Hakim
Albatross
Sarah Dooley
Carmen Grillo
Sonali
Classick
Tempa Don
Justin Abrams
The Honorable South
LondnBlue
The Shack Band
Matt Jaffe
The Southern Experience Band
Paper Arrows
Them & Us
Parralox
Tom Griesgraber & Bert Lams
Prez P
Zack Shelton & 64 to Grayson
Contact: croomer@hotmail.com Web: adriancroom.com
Contact: spreadthewordfreethebird@gmail.com Web: facebook.com/albatrossmusic
Contact: carmen@carmengrillo.com Web: carmengrillo.com
Contact: jb0581@gmail.com Web: iamclassick.com
Contact: justin@justinabrams.com Web: justinabrams.com
Contact: Afarrior@live.com Web: Soundcloud.com/londnblue
Contact: mjaffemusic@gmail.com Web: mattjaffemusic.com
Contact: info@paperarrows.com Web: paperarrows.com
Contact: nicole@lafamos.com Web: parralox.com
Contact: @PrezP_BeCampin Web: soundcloud.com/prez-p
Contact: sammyhakimmusic@gmail.com Web: sammyhakim.com
Contact: wendy@hellowendy.com Web: sarahdooleymusic.com
Contact: amanda@lafamos.com Web: ItsMeSonali.com
Contact: tempa.don@gmail.com Web: reverbnation.com/tempadon
Contact: thehonorablesouthmgmt@ gmail.com Web: thehonorablesouth.com
Contact: sergeent@aol.com Web: theshackband.com
Contact: hmph76@aol.com Web: southernexperienceband.com
Contact: themandusofficial@gmail.com Web: soundcloud.com.themandusofficial
Contact: Lori, lhpr@runbox.com Web: bertlams.com
Contact: drivefast@64tograyson.com Web: 64tograyson.com
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OUR FAVORITE 3)'.).' KONGOS Label: Epic Records Publicity: Darren Baber - Epic Records Web: http://kongos.com A&R: L.A. Reid EARLY LAST YEAR, upon hearing this then-unsigned-andunknown act’s demo disc, we immediately sensed something special and featured the band of brothers (Dylan, Jesse, Johnny and Danny) in “Music Connection’s Top 25 New Music Critiques of 2013.” Soon after our initial review, Kongos gained serious interest from labels and signed with L.A. Reid at Epic Records. It was all the result of a consistent DIY effort by the Phoenix-based quartet of brothers, who sent their music everywhere they could: not only to local DJs but stations in South Africa, where the brothers had grown up. The band’s sudden popularity there led to a KONGOS’ headlining gig at the popular Oppikoppi rock festival that caught the attention of U.K. booking agent Sean Goulding. That connection led to The MGMT Company in L.A., which set up showcases for the band throughout 2013, including South By Southwest. At the same time, armed with their infectious, accordion and slide guitar driven song “Come With Me Now,” the Kongos brothers, through their management, started sending singles out to radio and scored modern rock airplay in Chicago and Denver, and a spot at Riot Fest in Colorado. All before Epic signed them. “The resulting spike in our iTunes sales put us on the radar of various major labels and we started fielding offers,” says Jesse Kongos. “[Epic] were really enthusiastic about the music, not just the numbers.” It’s easy to see why labels were clamoring for this act as “Come With Me Now,” off the band’s debut album, Lunatic, would go on to hold the No. 1 slot on the Alternative Singles chart for five weeks on its way to Platinum status and TV placement ubiquity. In January 2015, Kongos will launch into its first North American headlining tour.
LARKIN POE Label: RH Music Publicity: Judi Kerr PR, 310-477-8191, judikerr@aol.com Web: http://larkinpoe.com A&R: Laura Reid BE PATIENT. BE PICKY. BE PREPARED. Don’t just jump on the first label offer. That’s the lesson offered by Atlanta-based sister act Larkin Poe (distantly related to famed poet Edgar Allan Poe) who formed in 2010. They’ve since self-released five EPs, collaborated with other artists and toured for three years before signing with RH Music, the relatively new venture of the Restoration Hardware chain. Says younger sister Rebecca Lovell, “We’d been approached by labels in the past, but we’d always decided that we wanted to do it ourselves because we were able to move quickly and make ourselves sustainable. We weren’t making big bucks, but we were in control. “At first, we were apprehensive [at the 56 December 2014
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RH offer] because we were so independent,” Rebecca continues. “But they latched on to the idea of working with us; they were persistent. They courted us for a long time and were patient. We give them credit for that.” “You need to know what you stand for before you get into a situation,” elder sister Megan adds. “Even though we may look back at earlier projects with twinges of regret or embarrassment, it’s important to put your mistakes out there. That’s the only way you’re going to learn. Because once you’re in a position where you have opportunities, you’re then prepared for them.”
YG Label: Def Jam Publicity: Brianne Pins - Cashmere Agency/ Courtni Asbury - Island Def Jam Web: http://YG400.net A&R: Sickamore KEENON JACKSON, aka “YG,” began making a rep for himself while in high school in Paramount, CA. “People at school were singing my songs and my homies were coming out to support,” says YG (Young Gangsta). Constant, effective self-promotion ensued. He recalls burning mixtapes and hitting the streets to pass out CDs. Shows were now a vital link to new fans and the combination proved instrumental in connecting him to Def Jam. Label reps would later observe an entire club, in Hollywood, singing along as YG performed. “That’s how I got my buzz,” he says. “I was really out there on my independent grind.” When YG found himself in New York, with Def Jam, it was surreal, he recalls, as he identifies as a West Coast artist. But he also values the uniqueness in being on an East Coast label: “Everybody there understands, and if I can get an East Coast label to know what I am doing, then maybe I can get the whole worl`d to understand.” My Krazy Life, featuring collabs with Drake and DJ Mustard among others, debuted on March 18.
COLE SWINDELL Label: Warner Bros. Publicity: Tree Paine, Tree.Paine@wmg.com Web: http://ColeSwindell.com COUNTRY SINGER/ SONGWRITER Cole Swindell is living the ultimate Nashville success story and has some words of advice for those who would follow in his footsteps. The Georgia native came to Nashville peddling songs and landed a publishing deal for three years. He got on at Sony ATV and wrote for himself while penning for the likes of Thomas Rhett, Florida Georgia Line and Chris Young as well as cuts for touring buddy Luke Bryan’s Spring Break EPs. And then a year ago, Swindell wrote “Chillin’ It.” The initial single off
34/2)%3 s 2014 his eponymous debut, “Chillin’ It” became the first single in all genres to receive Gold certification in 2014. The song sold over 600,000 copies, rendering it the highest selling debut single last year from a solo male country artist. The track was the catalyst for label options, and he signed with Warner Bros. Nashville. “We thought we had something big that had to go now,” Swindell says. “Warner just worked out; they had a slot for me.” If you’re trying to get a deal, Swindell, explains, “You have to play and get in front of people. If you’re in Nashville, you don’t have to write songs, but that’s a good way to get in. And trying to network. Getting to know people. That’s how Nashville works.”
CAROLINE ROSE
COMPILED BY MC SENIOR EDITOR
MARK NARDONE
Square got over a million hits on Youtube. Manager Alan Sacks came aboard and showcased the boys in Santa Monica, CA, for Jolene Cherry— who’d just set up a label at Sony. Cherry offered a multi-album deal that afternoon. What has followed includes production of a documentary as well as a book deal with Penguin Books. Their debut album will be helmed by Grammy-winning producer Johnny K (Sevendust, Disturbed, Megadeth). What is perhaps most striking about this young band is their conviction, stating, “We’re gonna do what we wanna do. If you want us to play hip-hop, we’re not gonna play hip-hop. We’ve been listening to metal in wrestling matches and Japanese anime since we were three years old. We’re gonna play metal because we like it!”
PRIORY
Label: Little Hi! Records/Thirty Tigers Publicity: Carla Parisi, kidlogicmedia@gmail.com Web: http://carolinerosemusic.com A&R: Kim Buie
Label: Warner Bros. Records Publicity: brooke.black@wbr.com Web: http://prioryband.com A&R: Jeff Sosnow
ONE YEAR AGO we had a strong hunch that this free-spirited singer/ songwriter would catch on with a label, and we were right. And she wisely chose to go with a company that was a proper fit for her music and career expectations. Rose signed to an imprint of Thirty Tigers, Little Hi! Records, which is the brainchild of Kim Buie, ex-A&R for Lost Highway. Rose says, “It’s a wonderful company; they give the artist a good percentage and it’s very hands-on.” The artist acknowledges the downside of being on a smaller label. “When you work with a smaller company,” she says, “obviously there’s going to be less money than a major label. And that can get frustrating because the budget can limit what you can do with your art. But it’s a growing process and I’m in it for the long haul.” Caroline Rose’s label debut, I Will Not Be Afraid, is now in stores and online via iTunes.
WE LOVE HOW, despite a flurry of major offers, this duo went with the label that offered the most creative freedom. We also admire how committed these artists were to making it, quitting their jobs to begin logging 10-hour days for 18 months in their home-built studio. It all paid of when they attracted management interest, signing with Gary Gersh at The Artists Organization. The band’s Kyle Sears says, “We chose Warner because of the freedom they allowed us along with the label’s vision for its future. “Working every day,” Sears adds, “even when we didn’t feel like it, was what paid off for us. Without that dedication and personal belief, it would have been impossible for us to get where we are now.” Need To Know was released in the fall.
UNLOCKING THE TRUTH Label: Sony Music Publicity: Amy Sciarretto/Atom Splitter PR Web: http://unlockingthetruthband.com A&R: Debby Dill; Jolene Cherry/The Cherry Party GUITARIST MALCOLM BRICKHOUSE (13), drummer Jarad Dawkins (12) and bassist Alec Atkins (13) comprise this metal trio from Brooklyn, NY. Barely teenagers, they have already played the main stage at Coachella, performed at the AFROPUNK festival, played dates with Metallica, Queens of the Stone Age and Guns N’ Roses and performed on the Vans Warped Tour 2014. Unlocking The Truth gained initial exposure when a video of the boys busking in Times
LEWIS WATSON Label: Warner Bros. Records Publicity: Sarah Avrin - Girlie Action Media, sarah@girlie.com Web: http://lewiswatsonmusic.com A&R: Warner Bros. SIGNING WITH A MAJOR can come with certain pressures, which is why singer/songwriter Lewis Watson’s experience has been so pleasantly surprising. What Watson finds most important about his deal is that Warner Bros. isn’t pushing him toward a release he isn’t ready for. “They’ve allowed me to build and grow over two years before I even released a debut album, so that shows that they’re just such a great major label.” Watson’s The Morning was released in July. “It’s got your name on it at the end of the day,” he says, “and it’s going to be out there forever, so make sure you’re happy with it.” December 2014
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STONEY LARUE Label: Entertainment One Music Publicity: Jules Wortman, jwortman@wortmanworks.com Web: http://stoneylarue.com A&R: Van Fletcher - Entertainment One Music Charismatic and lyrically astute, it’s not like Stoney Larue had a hard time finding a label to sign him. “I’ve had a couple of opportunities,” says Larue. “I’ve been on the road for 16 years and was never signed.” But I always felt that [with those labels] I would not be able to express myself artistically.” Over the years Larue had maintained a friendly relationship with Van Fletcher, who was originally with Universal South. When Fletcher joined Entertainment One, he pursued Larue and was instrumental in brokering a deal. “Entertainment One is one of the biggest production companies for TV and music in the world,” continues the soft spoken Oklahoman. “He obviously saw something in me that others didn’t.” Stoney Larue’s album for Entertainment One is entitled Aviators and was released Oct. 28. “I’d like to think I’m somewhat wise after playing out there all this time. I can’t confirm or deny that, but I do know what not to do.”
JAREKUS SINGLETON Label: Alligator Records Publicity: Chris Levick - Alligator Records Web: http://artistecard.com/jarekussingleton A&R: Bruce Iglauer Mississippi born and bred, Jarekus Singleton has solidly built his reputation as one of the leading up-and-coming blues singer/songwriter/guitarists on the music festival circuit today. The winner of several International Blues Challenges, Singleton started his own band in 2010. He aggressively sought out labels and sent Alligator president Bruce Iglauer countless demos. Iglauer replied consistently with encouragement and support. The turning point came in 2013 at an IBC event in Memphis. “It was epic,” states Singleton. “Bruce was there along with some other record executives. Later I traveled back and forth to meet him in Chicago and we got to know each other as men. He finally said, ‘Jarekus, let’s be family and make a record!’” Concludes Singleton, “You can do everything perfect and it still might not work out. It’s not what happens to you, but how you adjust!” The artist’s Alligator Records debut Refuse to Lose was released in May.
AMERICAN AUTHORS Label: Mercury, Island Records Publicity: Lauren Schneider, lauren.schneider@umusic.com Web: http://weareamericanauthors.com A&R: Steve Yegelwel FOR THIS BAND, (Overall Grand Prize in the 18th Annual USA Songwriting Competition for “Believer”) things really heated up with some Alt Nation airplay on SiriusXM satellite radio and a song that friends pitched to (home improvement chain) Lowe’s advertising team “just for fun.” The signing offers quickly came pouring in. But lead vocalist Zac Barnett 58 December 2014
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claims there’s no big competition against prestigious rock label, Island Records. It was the overwhelming success of their second single, “Best Day of My Life,” that catapulted American Authors right into the plush studio seats of Island Def Jam. Now, these four Berklee College of Music drop-outs are determined to keep the good times rolling. But band member Zac Barnett has a sobering insight to offer. “Don’t think that because you get signed to a label, all your problems go away,” he says. “These people are so amazing and definitely help propel your career to the next step, but it’s important to always continue working and writing. You need to make that hit song yourself.” American Authors is signed to Mercury Records (owned by Universal Music Group and operated through Island Def Jam Music Group). The debut album Oh, What a Life was released March 4.
ALLEN STONE Label: Capitol Music Group Publicity: Kristen Kanopka - Capitol Music Group, 323-871-5328, Kristen.Kanopka@umusic.com Web: http://allenstone.com A&R: Michael Howe LABELS LOVE A SELF-STARTER. Case in point: Allen Stone, a soul artist who laid substantial career groundwork before signing with Capitol. In 2011 the DIY maven self-released Allen Stone, which broke into the Top 10 of Billboard’s Heatseekers Album chart as well as the Top 5 on iTunes’ R&B/Soul chart. He also landed spots on The Late Show with David Letterman, Conan and Jimmy Kimmel Live! Over the past three years Stone has averaged 200 shows annually. And his YouTube presence has been impressive. This is precisely the kind of self-starting action that labels find irresistible. “Thirty or 40 years ago,” the artist says, “[record labels] could base their signing decisions on what they believed would sell. Now there’s not much leeway for that. You have to prove you can sell records on your own.”
TY DOLLA $IGN Label: Atlantic Records Publicity: Jason Davis - Atlantic Records & Aishah White Web: http://dollasignworld.com A&R: Shawn Barron Ty Dolla $ign (Tyrone Griffin) didn’t come to his Atlantic deal in the storybook way. There was no chance encounter with a label bigwig on a redeye flight, where a demo was passed and suddenly instant fame fell from above. This artist’s deal is more about building relationships, consistent writing and hard work.
“I got discovered in the studio, in Hollywood, because I was always there writing songs for other artists,” he explains. “Atlantic Records felt like my songs were good, but it wasn’t like in the old-school days where you play a demo and then you get a deal.” In Hollywood, he began working with A&R rep Shawn Barron of Atlantic Records. Barron has influenced the careers of Diggy Simmons, Phreshy Duzit and Drake, among others. Offers were now surfacing for Ty Dolla $ign, yet the bond the two formed was resilient. “Shawn and I had the relationship and that’s why we did our record deal together,” he says.
PORTER ROBINSON Label: Astralwerks (U.S.) / Virgin EMI (U.K.) Publicity: Leslie Hermelin (Astralwerks) / Janet Choudhury (Virgin EMI U.K.) Web: http://porterrobinson.com A&R: Jeremy Vuernick (Astralwerks) / Jason Ellis (Virgin EMI U.K.) NAMED ONE OF THE TOP “25 DJs That Rule the Earth” in 2013 (Rolling Stone) the 21-year-old EDM producer entered a more alternative realm with a new album in a deal he signed with released Astralwerks Records (an imprint of Capitol Music Group in the U.S. and Virgin EMI in the U.K.). For Robinson—who released his debut EP Spitfire through Skrillex’s vanity label OWSLA—the choice was easy. “I think a lot of these labels were looking for the next ‘big’ EDM record, and that was obviously just not going to work. It mostly came down to finding the label that really got my vision, and these guys totally got it... They were really excited.”
What we love most about this signing story is that the Chapel Hill, NC native considers artistic freedom and passion far more important than fame and money: “I [basically] went to every label and said, ‘Look, I’m not going to accept anything less than final cut. Offer what you will, but I’m not going to compromise that.’ I’d rather be a failure as an artist and be unsuccessful than give up my freedom.”
OH HONEY Label: Atlantic Records Publicity: Christina.Kotsamanidis@ atlanticrecords.com Web: http://ohhoneymusic.com A&R: Pete Ganbarg MITCHY COLLINS, half of Manhattan’s indie/folk/pop act Oh Honey, had spent quite some time in search of his musical other half. Having fallen in love with the idea of male-female duo a la Johnny Cash & June Carter, he reached out to the music community around New York. He found Danielle Bouchard. Since then the two have created a name for themselves based upon positive lyrics and a sound befitting a group from a much smaller town. Thanks to several years of networking, Collins had made the acquaintance of numerous label and management people in New York, including Atlantic Records, and that began to pay off for Oh Honey. “I had known a handful of them for several years, just being around the city and whatnot and it all meshed,” Collins says of the Atlantic signing. “It all just felt safe and kind of easy, like it was the right fit.” Though these singers found their match, it wasn’t without down days, which is why they urge artists to keep the faith when times seem dire. “We’ve been at this our whole lives and you’ll get a lot of doors slammed in your face before you hear one ‘yes,’” Bouchard explains. “But if you love it and you want it, you have to keep fighting for it.”
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– FRED GINSBURG CAS PhD MBKS
Ways to Improve Your Audio for Video – Part 2 Keep Your Mic Away From The Camera
I
n the previous article (http://musiccon nection.com/video-tips-and-tricks-improveaudio-video), we stressed the need for proper monitoring of your audio and careful selection of your headphones. This month, we will look at the importance of proper microphone placement. As musicians, you’ve had it relatively easy when it came to deploying your mics. Vocal microphones are kept close to the singer, often just inches away from the face. Instrument microphones are also at point blank range. These extremely close proximities are routinely practiced, even though the vocalist may be near screaming, and the volume of most raw instruments (or their amps) far exceeds that of the human voice. (I know… Pure tracks, avoiding feedback,
to 10 feet away! However, at that distance, your audio will be thin and heavily tainted by room noise and any background elements. Shotgun microphones have very limited range compared to lenses. When I shoot feature films or commercials, I utilize the best full condenser microphones on the market. “Short” shotguns give me up to five or six feet overhead of my actors; and “long” shotguns can go up to eight or nine feet overhead, indoors comfortably (but they will exaggerate any acoustic echo). Those are full condenser microphones costing up to two grand! Note that I keep using the word “overhead.” When a shotgun mic is pointed downward, the actor is directly on axis, where the mic is most sensitive. The long sides of the mic are way less sensitive, and do not pick up as much
consumer “video shotgun” mics found on the amateur shelves—other than to say that I have tried them, and they impart a sour taste to cocktails when used as stirrers!) The reach of these (professional grade) electret condenser short shotguns varies, but average three to four feet overhead. Get beyond that range, and the sound begins to get thin. You might still hear your subject up to several feet away under normal background conditions, but the dialog will sound more YouTube-ish and less primetime broadcast. The best results, especially with the less expensive prosumer/industrial shotgun mics, will be from suspending the mic pointed downwards, and from two to three feet overhead. You should bring at least a 25-foot long
Never forget the “three foot rule” preventing audio bleed, and that sort of thing.) The point that I am making is that even with such high volume sources, audio engineers rely upon close-up miking to keep it all clean. Yet when it comes to recording audio for video, it seems like the lessons learned in the recording studio are all but forgotten! The most common equipment set-up is a medium grade, electret condenser, short shotgun mic mounted directly atop the camcorder. There are two major problems with that: To begin with, you are probably recording ordinary level conversation or interview, not loud instrumentals or screaming soloists. Their sentences aren’t going to carry very far, and especially not if there is any background noise. You need microphones that are very directional and generally more sensitive than what you would need for music. The second issue is that although light (as in picture) can travel seemingly without loss over great distances, sound waves dissipate quickly. Just because a common telephoto lens can zoom in on it and see it, does not mean that our microphone can isolate it and hear it. Assuming that you are just shooting a simple interview in a moderately quiet room, it is unlikely that you would shove your lens only a foot or two away from the subject. Realistically, your camera would be seven to 10 feet away in order to frame a comfortable medium shot or close-up. That is where the problem lies. A shotgun mic, mounted on your camera, would also be seven 60 December 2014
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background noise coming from the sides of the set (toward the actor). But if you mount the microphone horizontally (atop the lens) as opposed to vertically (suspended from a boompole)—the background noise behind the actor tends to get sucked in and amplified. So although a really good condenser shotgun mic could almost reach the seven to 10 foot distance from camera to subject, all of the noise emanating from behind the subject would be added to their dialog. That is also assuming that the shotgun microphone rejected all of the side noise; which it does not. Side rejection is not even close to absolute. Maybe a reduction of 35% or so. To make matters worse, sound waves rarely come from only one direction. They reflect off of nearly everything and bounce around the room, managing to pollute your desired audio coming from the subject’s direction. Most videographers do not even utilize these expensive, full condenser short shotguns —such as the Sennheiser MKH60 and Audio Technica BP4073. Instead, they rely on medium grade, electret condenser shotguns such as the Sennheiser K3/ME66 or MKE600, Rode NTG-2 and Audio Technica AT897, to name a few. These microphones are all excellent mics for their cost, and offer the advantage of being able to power from an internal AA battery or external Phantom. They are certainly superior to dynamic mics in terms of reach and directionality. (I won’t even comment on the inexpensive, plastic,
XLR mic cable, to allow for the 10-foot camera distance, drop to the floor, and rise to the boom. A boompole and shockmount are important for serious production, but at the very least you could use a mic stand with boom arm to position the shotgun close to talent. Recruit a bystander to boom or even handhold the shotgun if you lack crew. Although the best way to deploy shotgun mics is from above, they can also be pointed upwards from below. Note that positioning the mic from below may result in a slight increase of bass reflections from the ground, as well as from talent’s diaphragm. Easy enough to roll off the excess bass in post-production. Speaking of bass, always engage the builtin bass roll-off on your shotgun mics when using them for dialog or field production. The only time to go “flat” is if you are recording music or sound effects and need that low punch. Otherwise, flat response on a shotgun just translates into hearing more handling noise, traffic noise, wind noise and other low frequency background pollution. Unlike dynamic mics, which need to be near chin height for most interviews, the electret condenser short shotguns function amazingly well at two to three feet, which is close to waist high. Feel free to use them as handheld “reporter” mics, but held just below frameline (and out of talent’s eye line, as well). Never forget the “three foot rule” and your dialog will sound like a professional captured it. You are professional, aren’t you?
T.I.
Paperwork Grand Hustle/Columbia Producers: Pharrell Williams, DJ Mustard, more
7
A Nervous Smile
8
Take it Like a Man
Paperwork, T.I.’s ninth studio album, is a plea to his audience to validate his hood credibility. At this point in his career, shouldn’t the expectation be musical expansion, and less about proving one’s authenticity? Yet, there are high points on this album. “New National Anthem” inspires. “About My Issue” reflects. “No Mediocre” gets the party started; while “At Ya Own Risk” is strictly for the ladies. Half of this album comes off as a bit surplus, reminiscent of previous releases. Thematically, Paperwork is clichéd, with very little passion. – Adam Seyum
Defeat The Low
Jim White vs. Packway Handle Band
9
Yep Roc Records Producer: Jim White Jim White is a southern-born poet, philosopher, singer-songwriter and now, producer. White has a dry and somewhat acerbic wit that he often pens in a lot of his material. In past ventures he has utilized southern rock, country, funk and folk to spin his provocative yarns. Partnering with the Packway Handle Band steers him in the direction of inventive bluegrass. It’s a rich and amusing blend of traditional roots with a contemporary sensibility. Also, the “versus” construct is a bit of a goof. Actually White and PHB sing and play together like a hand in glove. – Eric A. Harabadian
Dave Davies
7
Rippin’ Up Time
Rise Records Producers: Chris James, Craig Ericson, more
Red River Entertainment Producers: Dave Davies and David Nolte
Yes, the owner of Rise Records is the guitarist in this band, and that should be the only time to address that, because Defeat the Low’s debut album, A Nervous Smile, certainly carries itself. With a sound reminiscent of bands such as Glassjaw, Texas Is The Reason and everyone in between, the quintet is bringing back some of the best sounds of alternative rock. As a self-produced album, the debut has a coherent and full sound of the band’s own design and fans of the genre will certainly find something to like in this release, which is certainly a must listen. – Victoria Patneaude
God bless Dave Davies! He is touted as the inventor of grungy, feedback-driven rock & roll when all he wanted to do was create good songs. Which he does, and some are here on this collection of tunes. Any Anglophile will appreciate “Front Room,” and “In the Old Days” is a Clash-like angry tune. Overall, the sound is crisp, with great vocals and song styling. While there is some cool noisy guitar on several songs, the final track, “Through My Window,” is a sweet tune that resonates with what the best of the Kinks made us feel. – Brett Bush
Barbara Padilla
Ultramarine
Barbara Padilla
8
Every Man And Woman Is A Star
10
Moon Moosic Records Producer: Gregg Field and Jorge Calandrelli
Rough Trade Producer: Ultramarine
In the spirit of Paul Potts and Susan Boyle, the miraculously voiced Mexican/American soprano Barbara Padilla—runner up on Season 4 of America’s Got Talent—gives it a glorious go with a lushly produced debut that is equally artistic in its ambitions and accessible and infectious as an adult contemporary listening experience. With a top flight sound crew that includes the late Phil Ramone and Al Schmitt, an Abbey Road pedigree and the London Symphony Orchestra rising behind her, Padilla soars equally on familiar pop tunes, deep classical pieces and her favorite arias. – Jonathan Widran
In 1991 this minimalistic duo conjured up a spell of unique Canterbury techno (later dubbed “folktronica”) for a genre that was still in its infancy. This now classic album mixes Roland’s quintessential acid house maker, the TB 303, with samples of Native American vision quests, self help retreats, Gong and the Eagles, all for an audience in the “chill out room” at Manchester’s famed Hacienda. Now reissued on vinyl with a Peel Session bonus, where other electronica records have become passé, I’m still as connected to it as the first time I bought it at Bleecker Bob’s Records. – Daniel Siwe
The Bloodhounds
Theophilus London
Let Loose!
8
Alive Naturalsound Records Producer: Arthur Alexander East Los Angeles has a long and proud tradition of bands and fans that create and love good old American rock & roll. East L.A.’s the Bloodhounds are true to that spirit with this debut release. Well-wrought original tunes that are a throwback to cool ‘60s bluesinfluenced rockers include the opening track, “Indian Highway.” “Hey Lonnie” features some old-timey saloon piano styling and a megaphone vocal! These guys clearly have a bunch of old Pretty Things, Yardbirds and ? and the Mysterians records in their collections. It’s all done with a grand love of making music, with swell musical instincts from a band that clearly enjoys playing together, and doing it well. – Brett Bush
Vibes
5
Alive Naturalsound Records Producers: Leon Ware, Kanye West Releases like this put writers like myself in quite a quandary. Theophilus London, one of Warner’s up-and-coming hip-hop/pop phenoms, hit a home run in 2011 with Timez Are Weird These Dayz. Attempting to build on that success, he involved Motown-legend Leon Ware (Diana Ross, Quincy Jones) to serve as creative producer on his newest release, Vibes. Listeners are left with a soupy sorry attempt of high-brow art—I can picture executive producer Kanye West dipping some cheese sticks in his boxed wine now. Trust me, begin the album at track four, “Can’t Stop (feat. Kanye West),” when TL finally arrives. Other standouts include “Heartbreaker,” “Do Girls” and “Tribe.” – Andy Mesecher
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. December 2014
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WitZend
Venice, CA
Material: Alfa is a singer/songwriter who is self-described as indie folk pop, with lyrics that have a lonely hearts club vibe. Her encore number “Home to Me” is reminiscent of ABBA’s bittersweet “Slipping Through My Fingers.” Another song of note is “God Writes Happy Endings,” where Liang joins in with lovely harmonizing. Then there is “Isabelle,” which sounds like a pay homage to Edith Piaf based around a sauteuse rhythm with a story: “Often I’d find her asleep in the garden/The one-eyed cat slept by her feet/Then in a moment she’d rise and the old woman watched the sun…I can hear your lullabye/Cherie toujours je t’aime…” Musicianship: Violins are a novelty in live sets and often a bit rusty in timbre. Alfa, however, produces a clear and clean tone and proves to be a proficient multi-instrumentalist. Carlson, too, shifts between acoustic and electric guitar, adding delicate vibrato accents for both surf rock and pedal steel tones. Jimenez switches between a percussion setup of cajon and double live shakers and mostly brush work for his drum kit. When Underhill transitions between electric bass and uke bass, a surprised audience member incredulously quips, “That bass sound is coming out of him!”
Rockwood Music Hall
???????? ALFA
The instrument selections here are perfect for the musical styles.
Performance: Alfa has an extremely soulful singing voice. She excels at keeping her audience, engaged following the singer/ songwriter format of brief anecdotes and requests of audience participation. What is commendable here is that despite standingroom-only, the band overrides the sound of the patrons, commands attention and keeps its sound from blowing out. This is in large part due to the use of miked boutique amps; a good
ROBERT BIESELIN
Contact: mgmt@alfa-music.com Web: http://alfa-music.com The Players: Alfa Garcia, vocals, multiinstrumentalist; Erik Carlson, guitar; Austin Underhill, bass; Kevin Jimenez, drums; Priscilla Liang, backup vocals.
choice not only for the venue, but acoustic sound. Perhaps as a similar quality control choice Alfa did not take advantage of the house piano but stuck to her own keyboard. Summary: Alfa is a talented artist whose primary strength lies in lyrics, musicianship and her ability to shift between genres. She and her band should take note of their surroundings, however, and utilize the tools provided—for example, using the house piano rather than cramming a redundant keyboard on stage leaving no room for the band. – Brooke Trout
New York, NY
Material: He won a Tony for his portrayal of Jerry Lee Lewis in Million Dollar Quartet, but in his set at Rockwood Music Hall, Levi Kreis performed original music. A native of Memphis, TN, this performer’s blues and gospel roots are evident, but he infuses those flavors into more straight-ahead romantic and power ballads, which thematically explore a myriad of love’s ups and downs. Tinged with sadness, “Hold You All Night” describes the soul wrenching pain of trying to come to terms with relationship regrets. The song’s bittersweet intro, sets the stage perfectly for what’s to come musically and lyrically: “I would hold you all night if there was such a thing as second chances.” On a more optimistic note, Kreis’ “Love in Another Light” sensitively expresses the willingness to open one’s heart to real and lasting love: “Tear down the walls, open my eyes, wanna know love in another light. There’s gotta be more to this life, let me know love in another light.” Musicianship: Kreis’ vocal and piano skills are top shelf and open the way for full selfexpression. With technique securely under his belt he is able to perform with total abandon. Gospel as well as R&B elements permeate his voice and piano style, but Kreis raises them to an even more theatrical level. Though most of 62 December 2014
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LEVI KREIS his songs harmonically go to a musically logical place, Kreis often throws in an unexpected chord, putting a nice spin on the song. Performance: Many songwriters who perform with their chosen instrument find comfort in being safely tucked behind it; in Kreis’ case, however, the piano was an organic outgrowth of his total performance. Completely at home on stage, he delivered to his fans exactly what they wanted, even fulfilling a shout-out request here and there from the crowd. Sometimes he polled them for ideas on what they might like to hear next. It’s a savvy way to keep the connection with your audience, but for those new to the Levi Kreis experience, a
MARK SHIWOLICH
Contact: levikreis@gmail.com Web: http://levikreis.com Players: Levi Kreis, piano, vocals.
bit more variety in the repertoire, primarily in subject matter, would be a plus. Mid-set, Kreis displayed some of his more flashy pianistic skills in a gospel number complete with a welldeserved dig to the music business. Summary: It is refreshing to hear an artist who sings from the heart and writes straightforward songs with clear messages and meaningful lyrics. Throwing in a couple of songs with varying themes would break up the love ballads a bit more without alienating his loyal fan base or straying from his primary genre. Kreis’ songs have also been heard in The Vampire Diaries and The Apprentice. – Ellen Woloshin
GLITTER ROSE The House of Blues
GREG PAPAZIAN
shakers and sticks. Rose does a solo for “Kody Was A Killer,” surprisingly the only one that really stands out in the set. Her strengths lie in her chunky rhythm guitar breakdowns and ability to work the stage like a rock star. Rob K and Hoffman really get showcased on “Sleep Only Wants Me In The Sunlight.” Hoffman’s style is a good match for the grunge rock tone Glitter Rose imparted, thanks to her Orange amp. Along with her original tunes, she covers “Oh! Darlin’” by the Beatles as well as “Fire” by Jimi Hendrix where she channels a bit of Tia Carrere in Wayne’s World with an excellent Mitch Mitchell simulation by Hoffman.
Contact: management@glitterrose.com Web: http://glitterrose.com The Players: Glitter Rose, vocals, guitar; Rob K, bass; Chris Hoffman, drums.
illustration of not only that but a strong use of descriptors and character development: “He shot the boy five times/Modern day outlaw/ They came along to take his life/His blood dripping in the gutter/He just had a daughter/ But Kody was a Killer!”
Material: Imagine Joan Jett replacing Bon Jovi during his Young Guns phase. Glitter Rose is a contemporary rock/country hybrid that should appeal to fans of Lynyrd Skynyrd and Paramore alike. She excels at writing a strong hook. “Kody Was A Killer” is a good
Musicianship: Hoffman segues between songs to keep up the pace of the show and Rob K incorporates a funky bass solo as Glitter Rose switches things up with her acoustic-electric guitar. Hoffman, too, mixes up the set for rawhide beats with mallets,
Los Angeles, CA
Performance: Glitter Rose has a fun squeal and growl on songs like “Superstar Pop Twin.” While there is ample space in the compositions for accentuating the lyric hooks, the songs could use more room for instrumentals to add a little more kick to the high energy of the performance. Rob K and Rose do a good job of delivering an active stage presence, interacting with each other throughout the show. Glitter Rose is a consummate pro and thanks her audience, crew, venue and sponsors. Summary: This flexible style of music could be easily adapted to acoustic and arena settings. Glitter Rose is currently endorsed by an impressive list of sponsors that are proof positive she knows what makes for good sound. Her strong songwriting capabilities have led to film placements. Most recently she penned the title track for the feature film American Girl. – Brooke Trout
Mike’s Southwest Grill Lambertville, MI
Material: The Last Born Sons indulge in meat and potatoes rock & roll, with a side of blues, country, funk and all derivations thereof. While they primarily play an ample docket of classic covers and select contemporary hits, the band gives it their own unique arrangement and spin. With a set consisting of everything from “Cissy Strut” by the Meters, B.B. King’s “The Thrill is Gone” to modern country fare and reggae, this band crosses many musical paths. A lot of the tunes lend themselves to improvisation and that is the point where much of the material is transformed. Musicianship: Accomplished would not be too strong a word to use in describing this trio’s level of musicianship. They play over 250 dates a year and there is a simpatico and harmonic camaraderie that comes from experience that is immediately apparent. You get the feel that each member has a sixth sense about where a song is going and appears at ease when making changes on the fly. Guitarist Matt Havers plays with unfettered dexterity and creates real excitement in his solos. He’s also a fairly chameleonic singer, able to mimic many different artists as the
ERIC HARABADIAN
Contact: Jonathan Rutter, jonathanrutterLBS@gmail.com Web: http://lastbornsons.com The Players: Matt Havers, guitar, vocals; Kyle Smithers, bass, vocals; Jonathan Rutter, drums.
THE LAST BORN SONS LAST BORN SONS
gig requires. Kyle Smithers handles lead and backing vocals as well, but seems to have a more diverse range in his delivery than Havers. He is also quite adept at slap and pop as well as traditional finger style bass. Jonathan Rutter completes the picture; bringing a heavy jazz and funk veneer to the rhythm chair.
Performance: The venue was packed and the band milked the party vibe of the crowd for all it was worth. The trio was in its element and kept steady eye contact and a seamless rapport with the patrons in attendance. There was looseness and a playful interplay between the musicians, but make no mistake, they were
tight as a drum. There were many highlights in their show, with select spots for tasty bass and drum breaks. Also, Haver’s blazing fretwork on their countrified version of Robert Johnson’s “Crossroads” was off the chain! Summary: It’s easy to see why this band is growing exponentially in musical stature and popularity. They’ve got the goods and convey the music they love in a transparent and most entertaining way. Just like their tip jar, the Last Born Sons’ mix of talent and ambition is overflowing and abundant. They are certainly ones to watch. – Eric A. Harabadian
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The Middle East
Cambridge, MA
Material: A quirky quintet brimming with spirit, this recently hatched, Boston-based fireball describe themselves as a blend of rock, blues, surf, pop and punk. This diverse set of tags begins to approximate their sound, but more specifically they’re a tight jam band that employs blues and soul for their base and then infuses the zeitgeist of heavier, more modern genres into their electric potpourri, launching the entire ball of wax into the upper atmosphere.
KOOKED OUT
Musicianship: The holy trinity of guitar, bass and drums is well-exploited by these idealistic newcomers, blending into an effortless stream of unapologetic, colorful beauty. Lead singer John Fiore’s axe shredding, in particular, sets the stage ablaze. On the other hand, the degree to which Bridget Curzi’s keyboards enhance their sound remains an open question. Fiore’s singing proves ample, but it’s when the ladies, Curzi along with Tasha Solomita, take the vocal lead that new dimensions are revealed.
solitary cover wormed itself into their 45-minute set—Albert King’s “Born Under a Bad Sign,” nicely reflecting the band’s bluesy heritage. But while their technical abilities are noteworthy, what offers the most promise is how their playing reflects an honest passion. It’s a love of music for music’s sake that recalls the greats before they were discovered.
Performance: Decked out in costumes along with the Halloween crowd, Kooked Out thrilled trick-or-treaters with original compositions. One
Summary: Actively carving a unique niche within the rock & roll genre, Kooked Out is a young band finding its voice within an
Bancs Studio
APPLE KAUFMANN
Contact: John Fiore, johnfiore85@gmail.com Web: http://facebook.com/kookedoutmusic The Players: Chris Laskey, drums; Phil Colangelo, bass; Bridget Curzi, keyboard, vocals; Tasha Solomita, vocals; John Fiore, guitar, vocals.
industry that values revenue over originality. One hopes they’re able to develop their sound without being steamrolled by the corporate money machine, because that’s a distinct possibility if they allow themselves to be shaped by outside influences. Yet one gets the sense their vision isn’t for sale and once a few details are smoothed out, like discovering their vocal sweet spot and refining their stage banter, they’ll stop looking to outside influences and become an influence themselves. –Andy Kaufmann
Los Angeles, CA
Material: Yael Meyer delivers neo-folk tunes with uplifting lyrics. The singer/songwriter infuses electronic elements into a few songs like “Warrior Hear.” The track is upbeat, backed by a traveling keyboard riff and solid groove, and caters to a larger audience than the slower acoustic material. In her relaxed folk songs such as “Carry On,” Meyer aspires to be like Fiona Apple or Feist, but falls short. The vocal lines, strumming patters and tempos tend to blend together, which makes the songs indistinguishable. With more drums, sturdier bass lines and other instrumentation, the material could be richer. Musicianship: Each member holds down their respective simple parts. Meyer sings and plays guitar well and confidently leads the band through breakdowns. Her vocals, however, are one-dimensional and fall flat on occasion— vocal training could improve her range and melodies. Cohen holds down the groove better than Moore, especially during the slower material. Moore could enhance the songs with fuller beats like Krohnengold does with his keyboard riffs, which he plays confidently. Performance: Yael Meyer mostly performed songs from her new album and a few older 64 December 2014
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YAEL MEYER
tunes. She serenaded the intimate crowd with mellow grooves and gentle vocals, but her acoustic guitar was often overpowered by the rest of the band. Meyer engaged the audience on a personal level, but interludes between songs were lengthy and interrupted the flow of her set. “Warrior Heart” was the high point as it showcased the band’s stage chemistry. Then the mood dampened during the mellow, folky material. Moore persisted to push the tempo and could not gel with Cohen and Meyer. “On the Road” showed promise, but could be filled with more instrumentation to
VINCENT STEVENS
Contact: dani@kilrecords.com Web: http://yaelmeyermusic.com The Players: Yael Meyer, vocals, guitar, ukulele; Philip Krohnengold, keyboard, sampler; Carson Cohen, bass, backup vocals; Michael Jerome Moore, drums; Ari Herstand, trumpet, backup vocals.
liven it up. Meyer got into a passionate groove in the middle of the set with a transition to Spanish lyrics, and finished strong on a crowd favorite, causing the audience to sing along. Summary: Yael Meyer shows promise with her material, but needs to vary her songwriting and train her vocals. The artist hits her stride when she blends folk and electronic music, and those songs could potentially reach a larger audience. – Vincent Stevens
Social State House
Los Angeles
Contact: bookcodisky@gmail.com Web: http://codisky.com The Players: Codi Sky, vocals. Material: Codi Sky’s repertoire consists of slick R&B beats, electric accents and a pop flair that translates well on stage. The Maryland native’s discography, much like her set at Social State House, is comprised of original songs and covers. “W.W.Y.D.” is not only a standout in her setlist, but her recorded library. With a groove befitting the pop/R&B label she defines herself under, it showcases exactly what Sky looks to achieve in her music.
Performance: Alongside “W.W.Y.D.,” another shining moment in Sky’s set was her cover of Usher’s “Good Kisser,” a last-minute addition
CODI SKY
that served as an impromptu encore. While she did comes off as more confident on her covers as opposed to her originals, it needs to be said that the talent is there, and Sky has nothing to worry about as far as vocals go. Her backing band also brought a lot to the table, providing a strong background for their singer, most notably guitarist Mathilda Fritzell who shined with her guitar solos. Another aspect of Sky’s performance that was commendable was her presence. She
SIRI SVAY
Musicianship: Sky’s vocals are reminiscent of Jessie J and Rita Ora, though there are moments where they sound weaker than others. Time and growth in confidence will certainly help the songstress reach the potential that is apparent when she lets her voice soar. Her backing band brings the live performance even more depth and takes the live versions of the songs up a notch from their recorded counterparts. Where some young artists may just perform songs as heard on record, Sky and her band bring added musicianship to each and every track they perform.
was goofy and relatable as she spoke with the crowd, and for what it’s worth, it was very engaging. Summary: Sky is obviously a young artist, but that shouldn’t detract from her appeal. It is only a matter of time before she comes into her own and finds her confidence on stage, not only with her own songs, but in front of larger audiences. – Victoria Patneaude
These and thousands of other artists have been reviewed by Music Connection. Music Connection does not charge a fee for reviews. To read the reviews and to submit for consideration, go to http://musicconnection.com/reviews/get-reviewed/. December 2014
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– SCOTT BINDER
DJs: Here’s How to Retain Your Style W
hether you’re a dabbler or a dedicated pro, Berlin-based Scott Binder (international DJ, Billboard charting artist, former Banger Bros. member and author) gives you his experienced spin on the do’s and don’ts of DJ behavior. Let’s first touch on the topic of music requests. No matter what kind of DJ you decide to become, you will be confronted with this issue more than once. If you decide to be a mobile DJ, who plays at weddings, private parties and for friends, then taking requests is going to be part of the job description. If, however, you go the route of being a club DJ/artist, you do not have to take requests if you don’t want to. If you go for the latter, the best way to go about dealing with requests is to be kind, and politely tell the person asking for a particular track that you don’t have it. It’s as easy as that. There’s no need to get all pissed off, because that doesn’t do anybody good, and you simply don’t have to play whatever it is they would like you to. Don’t take it personally. I’ve mentioned that it’s important to be flexible about what you play as a DJ. But I want to make sure I am clear on this. I’m not saying that you should never play tracks you don’t want to. My point is that if you are one of those DJs who likes a variety of electronic music, then it’s in your best interest to be flexible within that context. If you are planning on being a DJ who plays only techno, then by all means play only techno. Whatever your perspective is on the subject, just be aware of the situations you put yourself in. If you are going to be a techno DJ, don’t say yes to a booking where the promoter wants you to play some funky house. Even though I have a wide range of music I enjoy, if there is a promoter who wants to fly me out for a show, but the music the club wants is not something I’m particularly excited about, I’m not going to do that show. As a DJ/artist, you are going to face choices about what kind of music you want to create and DJ, and what kind of overall style you 70 78 December 2014
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will put out into the world. A lot of people are concerned about being a sellout and ditching the music they really like for mainstream music. I believe that you should always create and DJ the kind of music that you like the most. If you are following your musical bliss, you will be in alignment with your true desires. There are going to be times when you might have to shift your style to certain crowds. For example, when I play in different countries, I al-
“We are entertainers, and the point is that people who come to the show have a great time. If I am playing music for only my enjoyment, then I should just stay home in the basement.” ways find out what kind of style of dance music is going over best at the moment. In fact, I had a conversation with a promoter recently who told me that right now deep house is big in his country, and he asked if it would be a problem if I played some the next time they brought me out. Was it a problem? Of course not, I love deep house. Now, if he asked me to play country music, I wouldn’t do the show. I love a wide range of electronic music, so expanding my scope in that context isn’t a problem for me. There are certain styles that I enjoy more than others, but sometimes I am in the minority on a certain genre. For instance, I love electro house, but it’s not a style that goes over well here in Berlin. If I am playing a show and am playing
only music that I love most, then I am missing the point. Again, it’s a fine line because you definitely want to stick to what you love—it’s just that sometimes you have to be flexible within that context. We are entertainers, and the point is that people who come to the show have a great time. If I am playing music for only my enjoyment, then I should just stay home in the basement. If you want mainstream success, you are going to have to make whatever it is that you are doing mainstream. In other words, if you create a glitch-hop track that takes the world by storm, perhaps this genre will become the new pop music. Because what’s the definition of pop? Popular music. I recommend following your heart and creating what you want. You can’t lose if you stay true to what you love most. If that’s creating and DJing underground music––stay with that. If you like the idea of creating pop music––go for it. A lot of people complain about the mainstream, yet these are the same people who are not buying underground or indie music. They say that the mainstream has no soul, but it’s that kind of attitude of judgment that creates a lack of soul. My advice here is to pay no attention to what people think about this topic. It all comes down to what you want to do. Be mindful of every situation you are in, though. If you are into underground music and try to mix in a current pop tune at a show, it’s probably not going to work! And if you are like man of my DJ/producer friends, you will not only enjoy music but you will also want to create a wide range of it. Music makers have respect for what it takes to produce music, and a lot of us like to experiment with creating many different kinds of it. SCOTT BINDER is an American artist living in Berlin, Germany. His book, Make Some Noise, is an Amazon best seller. He’s a Billboard charting artist, and co-creator of the one-time popular DJ duo the Banger Bros., aka CyberSutra. After moving to Berlin in 2012, Binder’s duo was put to rest, so he launched his solo career. He is now creating underground electronic music under Scott Binder and Binder. Along with being a musician and writer he is also the owner of Golden Needle Records. For more information, visit http://scottbindermusic.com.
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