Music Connection Nov. 2014

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CONTENTS 38

Informing Music People Since 1977 .OVEMBER s 6OL s No. 11

alt-J

These English alt-rockers have invaded the U.S. with a somber, low-key style that’s selling out major arenas, including Madison Square Garden.

By Rob Putnam

46 BMG Chrysalis MC speaks with David Hirshland about what a major music publisher can and can’t do for your career.

By Andy Mesecher

Photos by: Marcus Haney

Film/TV Composers Film, TV and game scorers are no longer expected to have classical training. These days, the doors are wide open for pop musicians to create music for picture.

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COMPOSERS

By Dan Kimpel

AES

22

Music Connection covers the Audio Engineering Society’s four-day gear extravaganza in Los Angeles.

Departments 08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 25. Business Affairs 28. Signing Stories 30. Song Biz 34. FilmsTVsTheater 36. Mixed Notes

Reviews

58 Directory of Music Publishers 64 Directory of Film/TV Music Supervisors & Post-Production 20. Producer Crosstalk: Ethan Johns . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 24. Exec Profile: Kim Roberts Hedgpeth, FMSMF. . . . . . . . . . . . By Andy Kaufmann 32. Songwriter Profile: Jon Bellion . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 48. Expert Advice: Manage Your Time and Money . . . By Charles Michael Austin, Ed.D. 70. Tip Jar: Got No Publisher Yet? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Randall D. Wixen 4

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50. Album Reviews 52. New Music Critiques 54. Live Reviews

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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, E. H. Tiernan, Paula Tripodi, Brooke Trout, Albert Vega, Ellen Woloshin MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright Š 2014 by E. Eric Bettelli. All rights reserved.

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ole

http://majorlyindie.com

By Jonathan Widran

TIMBALAND

APRIL BELLE

Celebrating 10 Years as Majorly Indie: In October, hundreds of artists, songwriters, stakeholders and industry friends gathered at The Fermenting Cellar in Toronto to celebrate the 10th anniversary of ole, the world’s fastest growing rights management company with investments of over $320 million in music intellectual property. Founded in 2004 with operations in Toronto (rock, country, pop/urban, etc.), Nashville (country) and Los Angeles (film/TV, pop/urban), ole is engaged in IP acquisitions, creative development and worldwide rights management. ole, which brands itself as “majorly indie” via its blend of the infrastructure and reach of a major with the personal touch, creativity and caring of an indie, has a catalog that includes over 45,000 songs and 60,000 hours of TV and film music across all genres. The company boasts a team of 60 experienced industry pros focused on acquisitions, creative development and worldwide rights management.

Growing Stable of Songwriters: Copyrights under ole’s control include songs recorded by the Backstreet Boys, Beyoncé, Blake Shelton, Britney Spears, Carrie Underwood, Eric Church, Jay Z, Justin Timberlake, Kelly Clarkson, Madonna, Michael Jackson, One Direction, Rihanna, Rush, Steven Tyler, Taylor Swift and Timbaland. ole is committed to the creative development of its 100+ staff songwriters, legacy writers and composers, including Rush, Timbaland, Steven Tyler, Tyler Farr, Josh Dorr, Gord Bamford, Brett Jones, Dave Turnbull and Marty Dodson.

The company also has ongoing ventures with Last Gang Publishing, Roots Three Music and Jackoby Publishing.

Joint Venture with Timbaland: ole recently entered into a co-venture with Grammy winning, multi-Platinum hitmaking producer Timbaland. ole-bluestone is dedicated to finding and fostering songwriters and helping them reach their full potential through active creative development and worldwide copyright administration. The venture is a foundational part of the growth of ole’s developing pop/urban catalog.

Leo Williams, General Manager of Creative (Los Angeles) says, “olebluestone has been a fantastic blend of Timbaland’s ear for talent with ole’s resources and creative development. It’s an exciting new chapter for ole. We’ve been signing some great new writers who are poised to take the industry by storm.”

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Bill Evans

Caitlin Lilly

Def Jam Recordings, a division of Universal Music Group (UMG), has promoted Bill Evans to Vice President, Urban Promotion, Def Jam Recordings.

In his new post, Evans will help manage and support Def Jam’s national field staff to orchestrate the successful roll-out of new record releases to all Urban radio formats, including Mainstream and Urban AC. Evans will also oversee the development and execution of all national radio and advertising campaigns. He will continue to work closely with his Pop and Rhythm counterparts as well as the Marketing staff to assure the best outcome for all Def Jam artists. Evans is based out of New York. For further details, contact renata.muniz@umusic.com.

Biamp Systems, a leading provider of innovative, networked media systems, has named Caitlin Lilly to the role of copywriter. In her new role, Lilly will support the promotion of Biamp’s branding, marketing and new product initiatives through the development of technical, product and marketing content.

Prior to joining Biamp, Lilly was the lead writer and marketing strategy team leader for MasterPlans, Inc. where she crafted business plans, conducted market research and provided executive summaries for highlevel clients. She served previously as the company’s marketing strategy writer and editor. She holds a Bachelor of Arts in women’s studies from UC Santa Cruz. Contact veronicaesbona@ingearpr.com.

Paul Karpowicz

Ambrosia Healy

Paul Karpowicz, President of the Meredith Local Media Group, was elected Chairman of the Board of Directors of Broadcast Music, Inc. (BMI). He was most recently Vice Chair of the BMI Board of Directors.

Karpowicz succeeds Susan Davenport Austin, Vice Chairman of Sheridan Broadcasting Corporation and Senior Managing Director of Brock Capital Group, who was elected Presiding Director. Karpowicz was appointed to his current position with Meredith in February 2005 and is responsible for the direction of Meredith’s 12 television stations. He has nearly 30 years experience in the industry, including more than 20 years at LIN, where he presided over the growth of its station group from 12 to 23 stations. Contact rahrold@bmi.com.

Ambrosia Healy has been named Senior Vice President, Head of Media Strategy & Relations, Capitol Music Group (CMG).

In her new position, Healy will utilize her industry-renowned experience and extensive skill set to oversee the design and execution of all publicity plans for CMG artists and projects spanning the company’s portfolio of labels, including Capitol, Virgin, Motown, Harvest, Blue Note and Astralwerks. All CMG label publicists will report to Healy, who will be based in Hollywood in the company’s iconic Capitol Tower.

Healy comes to CMG as a 20-year industry veteran and one of music’s most highly regarded PR executives. For further details, please contact Maria.Ho-Burge@umusic.com.

Dan Chertoff

Nora Tucker

Dan Chertoff has been named Vice President, RCA Records. Chertoff will be responsible for signing and developing artists for the label and will report to label CEO Peter Edge as well as David Wolter, SVP, A&R. Chertoff will be based at the label’s New York headquarters. Since 2009, Chertoff worked for Steve Ralbovsky doing A&R at Canvasback Music/ Atlantic Records, rising to Director of A&R. During his time at Atlantic, he signed alt-J and the Orwells. Alt-J’s first album, An Awesome Wave, has sold over 1 million copies worldwide to date. Prior to Canvasback/Atlantic, Chertoff studied producing and engineering at the Clive Davis Department of Recorded Music at NYU’s Tisch School Of The Arts. Contact Meghan.Kehoe@rcarecords.com.

Nora J. Tucker has joined The Blues Foundation as Manager and Curator for the Blues Hall of Fame. Formerly the project manager for Design 500 Inc., she has consulted with The Blues Foundation since 2007 when it first explored the feasibility of offering an educational attraction within its headquarters. In her new position, she will continue the search for artifacts, images and media files for Blues Hall of Fame inductees. She’ll also be planning all aspects of managing the attraction and overseeing its daily operations when it opens next year. For additional information on the Blues Foundation and Tucker’s new role within the company, please contact bobmerlis@ bobmerlis.com.

Neil Gaffney

Molly Neuman

ASCAP has announced the appointment of Neil Gaffney to Senior Vice President, International Affairs. Neil Gaffney brings to his new role at ASCAP over 25 years as an executive in administration of music rights. Most recently, he was owner of Right Thinking Solutions, where he provided innovative services in global music industry operations specializing in strategic-analysis, digital rights management, tracking and revenue recovery, business process re-engineering, business administration and change management to a number of publisher and collection society clients. Prior to that, Gaffney was at EMI Music Publishing, where he held a number of high-level global management positions. Contact news@meltwaterpress.com.

A2IM, the American Association of Independent Music, has announced the addition of three new staffers as part of a staff expansion, including new VP Molly Neuman. She joins A2IM as Vice President, replacing former VP Jim Mahoney who is moving to Merlin, the global independent music rights agency.

Neuman served as a dedicated A2IM founding board member from 2004 to 2011 and now returns to A2IM from Rhapsody International where she worked closely with music label and publishing partners as the Senior Director of Label and Publishing Licensing. Prior to this, Neuman worked as the Vice President of Label Relations during her seven-year tenure at eMusic.com. Contact Elizabeth Lutz, elutz@shorefire.com.

VP, Urban Promotion Def Jam Recordings

Chairman of the Board Broadcast Music, Inc.

Vice President, A&R RCA Records

Senior Vice President, International Affairs ASCAP

Copywriter Biamp Systems

Senior VP, Head of Media Strategy & Relations Capitol Music Group

Manager & Curator, Blues Hall of Fame The Blues Foundation

Vice President A2IM

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– BARRY RUDOLPH barry@barryrudolph.com

TELEFUNKEN ELEKTROAKUSTIK THP-29 EXTREME ISOLATION HEADPHONES Telefunken Elektroakustik’s new THP-29 Extreme Isolation Headphones work both in the studio and for live sound to protect the eardrums and improve the listening experience.

The passive (no batteries required) THP-29 headphones have 40-mm speaker drivers and feature TruSound™ tonal accuracy with natural passive isolation. The closed-back design, lightweight construction, adjustable head strap and padded ear cushions provide optimum comfort.

The THP-29’s isolation capabilities reduce loud external sound levels in the recording studio or on loud stages with an average of 29 dB of noise reduction over a wide frequency range. Great for drummers who want to hear their cue mix without using excessively loud headphone volume, the THP-29 is a professional recording tool and a great addition to any studio or recording engineer/mixer’s kit.

The THP-29 Headphones sell for $135 MSRP. http://telefunken-elektroakustik.com

CRUZTOOLS STAGEHAND COMPACT TECH KIT CruzTOOLS’ new Stagehand™ Compact Tech Kit is a nobrainer for all guitar and bass players who are interested in keeping their instruments in perfect playing condition using this set of proper tools.

The Stagehand Compact Tech Kit come in a durable canvas zip-up pouch measuring 7” x 2” x 2”—carry it in your guitar case. It starts with a 19-piece magnetic bit set and screwdriver-style bit holder that includes: hex wrenches, screwdrivers, and sockets in both inch and metric sizes that’ll cover all makes and models of guitars and basses.

There is a capo and a precision set of 15-blade thickness gauges with integrated ruler for neck relief measurement and truss rod adjustments.

The included GrooveTech String Cutter, string winder and bit holder all fit my small hands perfectly.

I own a couple of guitars and they occasionally need some love—now I have all the right size bits to fit every screw.

The CruzTOOLS Stagehand Compact Tech Kit carries a street price of $34.95 MSRP. http://cruztools.com

EVH STRIPE SERIES CIRCLES GUITAR

The EVH Stripe Series “Circles” guitar was made famous in the Van Halen 1981 “Unchained” music video. The spacey black-and-white graphic has a gloss finish and is a unique and distinctive-looking wonder in the Stripe Series line. This high performance tone machine uses a sleek Strat® shape basswood body, rock-solid quarter-sawn maple neck with an oiled finish and a fast and smooth compound-radius maple fingerboard. The neck has comfortably rolled edges and 22 jumbo frets. You get a single EVH direct-mount pickup with a single black plastic master volume knob. There is an EVH Floyd Rose® whammy with a D-Tuna® bridge, locking nut and EVH tuners. http://evhgear.com

PRESONUS CAPTURE AND CAPTURE DUO FOR IPAD PreSonus® has introduced iOS software based on the live-recording software for their StudioLive mixers called Capture™ for iPad® and Capture Duo. These two new audio-recording apps for Apple iPad work identically but Capture for iPad is able to record up to 32 tracks simultaneously, with up to 24-bit, 96 kHz fidelity. Downloadable for free from Apple’s App Store, Capture Duo lets you record and play two stereo tracks and has the same feature/editing set as Capture for iPad. I downloaded Duo to my iPad 4 and the onscreen help got me recording and editing a new session in minutes. I spoke closely to the iPad’s built-in mic and recorded a narration for video I wanted to show to my students.

Once I had my different takes roughly cut using Capture’s editing tools, I transferred the files over my WiFi network to PreSonus Studio One® version 2.6.3 running on my studio’s Mac. Recordings are saved in Apple’s Lossless format to reduce transfer times. Transferring wirelessly is an awesome utility with the files showing up immediately in Studio One and ready to be edited/processed further.

Capture Duo allowed me to record in stereo or mono and use/configure the built-in metronome, select sample rate, save multiple songs and assign different inputs to each track if using a connected I/O box such as PreSonus’ new AudioBox iTwo. Capture for iPad is available from the Apple App Store for $9.99. http://presonus.com/products/Capture-for-iPad

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– BARRY RUDOLPH barry@barryrudolph.com

FOCUSRITE ITRACK POCKET Focusrite’s iTrack Pocket is a small, desktop cradle system that holds and positions an iPhone 5 (or later) for taking video selfies. The iTrack Pocket contains a stereo microphone with a record level control and a 1/4-inch (DI) direct guitar input jack. With the Focusrite app Impact (downloadable free from iTunes) installed in your iPhone and then connecting the Pocket using an included Lighting/Mini USB cable, you can record wide-angle videos of yourself (or friends) performing and also capture a wide stereo sound field to match.

The Impact app offers three modes of audio recording: Stereo Mode with built-in stereo microphones, Guitar + Mic mode records both the direct guitar signal and mics and Guitar only mode mutes the mics and records just the DI. Impact also provides guitar amp simulators with individual controls to enliven your DI guitar sound and mastering effects like small room reverb, vocal doubler, enhancer and stereo compression.

I found the iTrack Pocket simple to use and great for recording quality sounding videos. Once recorded, I did a little editing in Impact and then uploaded the video to YouTube and shared with friends over WiFi and Bluetooth.

The Focusrite iTrack Pocket sells for $125 MSRP. http://focusrite.com/itrackpocket

FISHMAN FLUENCE SINGLE WIDTH PICKUPS Fishman now offers Fluence™ single width pickups (single coil size) with hum bucking versions coming soon. Fluence pickups combine Fluence Core printed “coils” with analog electronics. Each Fluence pickup features two selectable, complementary voices that deliver an “idealized” guitar sound—classic guitar pickup tone. Unlike regular passive wire-wound coil pickups, Fluence pickups are not susceptible to spurious noise, hum, cable capacitance problems or coil inductance variations.

Fluence also eliminates the main reasons many players avoid going active: battery cost and implementation.

When coupled with the Fluence rechargeable Lithium-ion battery pack, time between charges is weeks instead of hours. You can also plug in a standard USB charger or use a 9-volt battery to power Fluence pickups.

Available in black or white, Fishman’s Single Widths range in price from $109.95 to $224.95 MAP. http://fishman.com/products/view/fluence-single-width-pickups

JBL PROFESSIONAL EON 206P PORTABLE PA SYSTEM JBL Professional’s EON 206P Portable PA system is a self-contained live sound system ideal for small band/solo acts, coffeehouses, clubs, schools, worship events, meetings, presentations or backyard barbeques.

The JBL EON 206P is a three-piece system consisting of a pair of matching passive loudspeakers each with a 6.5-inch woofer and a 1-inch neodymium tweeter. Both speakers have 36-mm pole mounting sockets and “mate” to a third center-section that has a powered six-channel mixer with a separate 80-watt power amp to drive each speaker.

The center section’s integrated mixer’s Ch. 1 & 2 are two balanced mic/ line inputs with XLR / 1/4-inch Combi jacks, Ch. 3 & 4 are L/R stereo inputs with both RCA and 1/4-inch jacks, and Ch. 5 & 6 is a single 1/8-inch stereo mini jack for connecting an iPhone, CD player or music player.

All six inputs have separate mix level controls with Ch. 1 & 2 equipped with a two-band (high/low) equalizer and individual reverb effect controls.

Amazing the entire EON 206P system weighs only 25 pounds and comes in a road-tough, “suitcase” style enclosure with internal cable storage space. The JBL Professional EON 206P Portable PA System is the smartest system I’ve seen so far in inexpensive and portable sound systems. It sells for $449 MSRP. http://jblpro.com/ www/products/porta ble-market/eon206p

FABFILTER PRO-L LIMITER PLUG-IN FabFilter’s Pro-L is a professional mastering and mixing plug-in tool with a highly visual real-time GUI display that shows what exactly is happening to your audio so one can more accurately set up the limiting process.

The broad usefulness of FabFilter Pro-L limiter is due to the four advanced limiting algorithms, each with their own distinct character. You could use the Transparent style to maintain the original sound balance and feel but with minimum coloration while Punchy introduces very hearable and vibey pumping artifacts and flavor. The Dynamic algorithm enhances transients before limiting and the Allround algorithm is a safe way to minimize distortion while still making your music loud.

I found Pro-L useful beyond typical stereo mix bus use—such as “reigning in” difficult lead vocal recordings. I found double-tracked and harmony lead vocals seem to “mesh” better in the mix. Using reasonable settings, Pro-L is very transparent with minimal added distortion using any of the styles.

Complete with dithering and noise shaping capabilities, FabFilter Pro-L is available for $229 in both Windows and Mac OS X in VST and VST 3, RTAS and Audio Units plug-in formats. http://fabfilter.com/shop 12 November 2014

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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

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.

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BOOK S T ORE

Your Go-To Music Copyright Resource With over 30 years of experience in the industry, music attorney Steve Winogradsky GHOLYHUV WKH GHðQLWLYH guide to music copyright.

Music Marketing for the DIY Musician

By Bobby Borg (paperback) $29.99

By Harvey Kubernik (hardcover) $34.99

A culmination of Borg’s many years as a musician, entrepreneur and instructor, this new book gives musicians a strategic step-by-step guide to producing a customized, low budget plan to help them market their music independently with the help of today’s technology. The book shows music artists how to take control of their own destiny, save time and money, and eventually draw the full attention of top music industry professionals.

Kubernik has gathered a regiment of appreciators in this fun, oral history-style examination of Cohen’s career, presenting thoughtful comments by writer/producer John Lissaur, Phil Spector, Joni Mitchell, Jim Keltner, Sharon Robinson and other Cohen associates and collaborators. The book is copiously illustrated with great photos (Cohen with Devo!?) and detailed timelines spanning the artist’s long and varied career.

Guitar Encyclopedia

By Brian Tarquin (paperback) $29.95 A renowned guitarist and multi-Emmy-award winning composer, Tarquin presents the history of guitars in this full-color encyclopedia that contains interviews from guitar designers such as Fender and Eastwood, as well as Gander and Specimen and guitar heroes Zakk Wylde, Steve Vai, Billy Sheehan, Joe Satriani, Jeff Beck and Larry Carlton, among others. This is a unique account of iconic guitars and how they connect to monumental recordings.

Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard on You?

By George Clinton with Ben Greenman (hardcover) $27.00

Visit alfred.com/music-publishing. *iBooks is a trademark of Apple Inc., registered in the U.S. and other countries.

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Leonard Cohen – Everybody Knows

Here’s funk legend George Clinton’s longawaited memoir, covering the span of his life, beginning with his early obsessions with doo-wop and R&B through his artistic height playing for tens of thousands of rabid fans. Written with wit, humor and candor, this memoir provides insight into America’s music industry as forever changed by Clinton’s talent.

The Dirty Version

By Buddha Monk and Mickey Hess (hardcover) $39.99 As the wild and raucous icon of singular hip-hop group Wu-Tang Clan, ODB captured millions of fans in his complex and inventive raps and astounded others with the wild antics on-stage and off that made him so notorious. On the 10th anniversary of his death, the artist’s right-hand man and best friend Buddha Monk releases, The Dirty Version, a biographical account of the legendary rapper.

Nashville Songwriter

By Jake Brown (paperback) $16.95 Brown’s book delivers the inside stories behind country music’s biggest hits, based on interviews with the writers behind top hit songs–– classics by the Crickets, George Jones, Tom T. Hall and Willie Nelson as well as contemporary hits

by Brad Paisley, Lady Antebellum, Jason Aldean and more.

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Leading The Industry For Over 35 Years

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TAXI

http://TAXI.com

By Jonathan Widran World’s Leading Independent A&R Company: Launched by Michael Laskow in 1992, TAXI is renowned throughout the music industry as the “world’s leading independent A&R company.” With nearly 10,000 members in more than 100 countries, the multifaceted organization has helped connect countless artists and songwriters to the powers that be at every major and hundreds of indie labels, including A&M, Atlantic, BMG, Capitol, Columbia, EMI, Epic, Geffen, Island Def Jam, Jive, Interscope, Sony and Warner Bros. Thousands of TAXI members have signed deals to license their music to TV networks and top film companies.

TAXI Does the Driving: On the 1st and 15th of each month, and now with additional daily updates, TAXI sends its members approximately 125 opportunities per month from major and indie label A&R departments, producers, publishers, music libraries and top film & TV music supervisors.

TAXI’s team of industry experts pre-screens music from its members, then forwards the best and most appropriate material directly to the person or company that requested it.

Members, who pay $299 MICHAEL LASKOW for their first year and an annual renewal fee of $199, receive feedback in two ways: 1) when they submit for specific listings and 2) via requested custom critiques.

Accept No Substitutes/The Road Rally: In recent years, numerous TAXI copycats have arisen that run listings, then split submission fees with the listing party. One in particular has taken TAXI’s industry listings, made minor edits, and run them as their own. “Companies like that are the reason musicians always have to worry about getting ripped off, and the only way to know the difference is to do your homework,” Laskow says. Realizing that many industry conventions were poorly organized, uninformative and gave musicians few opportunities to meet industry people, Laskow created The TAXI Road Rally. It’s a free, annual membersonly convention that lasts three days and includes 15-20 panels, plus 90 breakout classes on every imaginable subject, with plenty of opportunities to meet industry professionals, including one-on-one mentor sessions and six open mics. The next Road Rally is Nov. 6-9 in Los Angeles.

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Bristol Says Yes To Appelbaum Mastering Los Angeles based mastering engineer Maor Appelbaum mastered the new YES DVD Live From Bristol at his facility, Maor Appelbaum Mastering. The live recording was mixed by Billy Sherwood. Pictured (l-r): YES drummer Allan White; Appelbaum; and YES keyboardist Geoff Downes.

Portland Producer Tracks Children’s Album In New Studio Doug Fergus, also known as Lucky Doug, and the Stinkbugs put the final touches on his self-titled children’s album at producer Sylvia Massy’s new Lithia Hall recording studio in Ashland, OR. Massy has produced everyone from Tool to Red Hot Chili Peppers. Pictured (l-r): Massy and Fergus.

More Studio News

ReAmp Opens Second SoCal Location ReAmp Studios has opened Studio G in Tustin, CA. Complementing ReAmp’s existing Studio X facility in nearby Anaheim, Studio G will provide a professional environment complete with recording equipment and outboard gear tailored for artists and musicians of all genres. Studio G is home to a rare Amek APC 1000 console, which was privately owned by producer Krayzie Bone of Bone Thugs-N-Harmony and was used to produce the hit single “Ridin’ Dirty”

by Chamillionaire. Pictured (l-r): Daniel Martin, owner, artist development/ client relations; Stefani Rose, owner, head of production and studio relations; and Joshua Brooks, head engineer and studio manager. Visit http://reampstudios.com for studio updates.

AVID Rolls Out Update Plan For Users: In November, new Pro Tools | Software license purchases and upgrades will include a oneyear, renewable standard Avid Support plan. This plan includes all future Pro Tools updates and upgrades—including the new cloud collaboration and Avid Marketplace features—plus, access to 24 hour support. Says Chris Gahagan, Senior Vice President of Products and Technology at Avid, “We’re now making it easier for all customers to elevate their music and audio production immediately—and then take it to a

Producer Playback

“If the song isn’t there, no amount of gear will make it great.”

– Christopher Tyng, producer/composer. Interviewed Sept. 2014

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higher level as cloud collaboration and other new features become available.”

For a limited time, new users will get all Pro Tools upgrades and support extended through March 31, 2016 if software is purchased

by Dec. 20, 2014 and activated by Dec. 31. (Note only for users who Buy Pro Tools 11 with Standard Support; Pro Tools 11 Upgrade/ Crossgrade with Standard Support for $199; or Pro Tools | HD 11 Upgrade with Standard Support for $599). See http://avid.com for complete details.

– ANDY MESECHER andym@musicconnection.com

Studio Malibu Opens VIP Venue Studio Malibu hosted an event to announce the opening of its new VIP Venue.

Label execs, artists and producers came together to celebrate the occasion, which was sponsored by Red Bull and Angel City Brewery. The studio has also kept busy with the likes of P Diddy and Liam Payne (of One Direction) as well as Karmin (with Twizzlers) and more. Pictured (l-r): Tony Crowe, engineer; Chris Hemsworth, actor; David Levy, Studio Malibu owner/producer; Paul Carden, supervising ADR producer.

825 Records (and that Afro) Continue to Grow

JAMES STARLIN

PAUL GELSOBELLO

New York recording studio/production company 825 Records, Inc., has kept busy developing artists such as pop singer Katie Lee and 15-year-old burgeoning rocker Eddy Davis III. The team is also producing original music for corporate clients including MetLife and various advertising agencies. Joined by experienced industry veterans, Matty Amendola (pictured) and his team are dedicated to providing a finished product for independent artists or corporations’ media needs worldwide. See http://825records.com for news and updates.

SSL Duality Expands Horizons At Robert Lang Studios In Seattle As part of its ongoing commercial development and delivery of advanced education in collaboration with local colleges, Robert Lang Studios has upgraded one of its control rooms with an SSL Duality console. The studio recently played a role in the Foo Fighters’ new album Sonic Highways. Using the studio’s fully restored SSL 4000 E Series console, the group recorded one of the songs for the LP. Visit http://solidstatelogic.com.

David Bowles Updates Production Rack Prominent classical music recording engineer/producer/music professor David Bowles (pictured) has added the new Digital Audio Denmark AX32 AD/ DA converter to his setup. Bowles’ company, Swineshead Productions, LLC specializes in classical music recording, but also includes jazz and crossover genres. A recent Swineshead project was recorded at St. Ignatius Church in San Francisco: Christmas music performed by the chorus Cappella SF, conducted by Ragnar Bohlin.

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PRODUCER CROSSTALK

ETHAN JOHNS

More than just a member of his legendary family tree

By Rob Putnam

W

hen you’re descendant from a line of audio aristocracy, making any other career choice might seem like abdication. In the case of Englishman Ethan Johns (son of Glyn Johns—Led Zeppelin, the Who, the Rolling Stones—and nephew of the late Andy Johns—Eric Clapton, Led Zeppelin, Van Halen), he entered the family business early and has worked with a range of artists including Ryan Adams, Kings of Leon and Paul McCartney as well as building his own career as an artist.

Johns’ production philosophy is one of independence and freedom from external pressures. “It comes down to what I value in music,� he asserts.

The three most important “The idea of music as a commodity things he’s learned as a has never sat well with me. Some producer are: of the records I’ve made that have lasted were completed without label s $ON T WALK THROUGH THE DOOR WITH involvement. There was no preA PRECONCEIVED IDEA OF HOW THINGS conceived idea of what the record or SHOULD GO !LLOW AN INSPIRED single would be. Each was allowed to MOMENT TO TAKE YOU SOMEWHERE manifest on its own terms without any NEW ;BECAUSE= THE FIRST THING YOU of those ideas creeping in. I believe TRY MIGHT NOT ALWAYS WORK strongly in that kind of record making.

Commercial expectation is a difficult s ,ISTEN TO THE ARTIST "E PREPARED thing to overcome. When you’re trying TO HAVE YOUR IDEAS CHALLENGED ) to get to the heart or truth of an artist, OFTEN SAY TO AN ARTIST h'IVE THE you want nothing to confuse the issue.�

IDEA A FEW DAYS ,ET IT SETTLE v !ND The ways Johns begins new GIVE YOURSELF THE SAME FREEDOM projects are as varied as the artists with which he works. “That’s what s !LWAYS LEARN !LWAYS TRY TO keeps me interested,� he explains.

GET BETTER “Every project is a new set of challenges. The three albums I’ve made with [Virgin Records artist] Laura Marling, for example, were all very different processes. As a result, they were all special. It’s a beautiful challenge to walk into. The doors of inspiration open and you see what will happen next. I don’t believe in doing the same thing twice. Obviously your experience feeds into your choices [and] there will be certain similarities. “I’m a big fan of live recording,� he continues, “but at the same time if I’m working on a project that really feels like building things from the ground up is the best way to make that record, then that’s the way we’ll do it.�

Despite the obvious convenience and expanded options with which digital audio workstations enable producers, Johns finds that the simplicity of tape isn’t something he’s willing to abandon. “When you have the basic tools of a tape machine and a recording console, it puts the onus squarely on the performance and capturing of the music as it’s performed rather than manipulating it into kind of an unreal state,� the producer observes. “I love the limitations of working with 16 tracks because it forces you to make decisions. And you can’t beat the sound of tape.�

In something of a role reversal, Johns’ 2014 release The Reckoning was produced by friend and collaborator Ryan Adams. “Self-production is not a good option for me,� he says. “As an artist, I need a fresh perspective or a huge mirror. The decision to work with Ryan was based on the fact that I know him well and trust him. And I appreciate the way that he responds to music. He trusts his instincts. That’s a valuable trait in a record maker. You can get into second guessing [yourself] and that can be detrimental.�

Currently Johns is recording his next solo album in London. Johns also runs Three Crows Records, which allows him to create music largely free of commercial constraints and considerations.

Contact JG@globalpositioningservices.net

20 November 2014

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November 2014

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DAVID GOGGIN

AES SHOW 2014 The Audio Engineering Society’s event returned to Los Angeles for the first time since 2002. We decided to swing by and see exhibitors and those circling the event floor.

A A. Singer/songwriter Lisa Loeb and Alan Venitosh, Telefunken Director of Operations.

B. Mixing/mastering engineer Paul Dugre with Mojave Audio president Dusty Wakeman and audio designer extraordinaire David Royer.

B D C

C. Brad Lunde of TransAudio Group with producer/ engineer Elliott Scheiner.

D. Producer/engineer Ryan Hewitt spending some time with Royer Labs president John Jennings.

E. Producer/engineer Eddie Kramer with Robbie Clyne of Clyne Media.

E F G. Vintage King Audio teamed up with TELEFUNKEN Elektroakustik to record a live session with Zane Carney and Friends showcasing a full range of dynamic and condenser models from the microphone titan for the AES show. Pictured at Vintage King Los Angeles during AES are (l-r) Tommy King, keyboards; Gavin Salmon, drums; Zane Carney, guitar and vocals; Greg Garbowsky, bass; Josh Gleave, Vintage King Sales; Jason Scheuner, TFunk Artist Liaison; Jeffrey Ehrenberg, Vintage King West Coast Sales Mgr; Alan Venitosh, TFunk Director of Operations.

22 November 2014

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DAVID GOGGIN

F. Audio Technica’s Roxanne Ricks, producer Mike Clink and AT’s Steve Savanyu.

With every great Pro Audio event comes even better parties!

Here are some A-listers of the audio world attending nightcaps at 4th Street Recording, EastWest Studios, Universal Mastering, Vintage King and United Recording.

B JAMES MORRIS

A

A. Chuck Ainlay, P&E Wing co-chair; Maureen Droney, P&E Wing Exec.

Director; Robin Goodchild, Studio Manager; BJ Ramone, Phil's son; Peter Filleul, APRS Exec. Dir.; and Mike Clink, P&E Wing co-chair at the P&E Wing/ APRS party at United Recording.

B. Sejo Navajas and Kathleen Wirt of 4th Street Recording; Walter O’Brien, CBS (Scorpion); Nicole Greenwood and Sean McLaughlin of indi.com; and John Rigney at 4th Street’s 25th anniversary party.

C D C. Rhys Moody, EastWest Sounds manager; Lisa Rogers; Doug Rogers, EastWest Sounds and Studio owner; Blake Rogers, Assistant Studio Mgr.; and EastWest Director Patti Greenall.

D. SAE Director and Ex'pression College Campus Director Bridget Gardner; EastWest Studio Manager Candace Stewart; AFM & SAG-AFTRA Fund Executive Director Dennis Dreith with Domestic & International Fund Director Shari Hoffman.

E E. Grammy-winning Universal mastering engineer Eric Labson; Senior Director of Studio Operations, Nick Dofflemyer; and DHDI President Hanson Hsu who designed Universal’s mastering rooms.

F. Mastering engineer Bruce Maddox and Studio Referral Service’s Ellis Sorkin.

F November 2014

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– ANDY KAUFMANN

Kim Roberts Hedgpeth

experienced and knowledgeable team already in place.

Fund Administrator Film Musicians Secondary Markets Fund Years with Company: Since May 2014 Address: 12001 Ventura Pl., 5th Fl. Studio City, CA 91604 Web: http://fmsmf.org Email: KRoberts@fmsmf.org BACKGROUND: Formerly the Executive Director of American Federation of Television and Radio Artists, Kim Roberts Hedgpeth became the Fund Administrator of the Film Musicians Secondary Markets Fund this past May. Born out of collective bargaining agreements in 1972, FMSMF’s mission is distributing earned income to film and television musicians for monies generated by secondary markets like DVD and pay-per-view.

A History of Musical Concerns I was raised in a family of musicians, so this is a job that speaks to my heart—serving our participants and their beneficiaries. I spent most of my career with AFTRA, which is now SAG-AFTRA, after the two unions merged in 2012.

At AFTRA, I had the opportunity to not only negotiate and administer contracts in the sound recording field for vocalists that AFTRA represented, but also the opportunity to serve on the boards of SoundExchange, the AFM [American Federation of Musicians], now SAG-AFTRA Intellectual Property Rights Fund, as well as AARC, the Alliance of Artists and Recording Companies. I got to see all the challenges and opportunities when it comes to royalties, collections, distributions and sources of income, particularly with new media for musicians.

And I was fortunate enough that when Dennis Dreith, who was the previous administrator of the Film Musicians Fund, decided to move over to the AFM/SAG-AFTRA Fund, I was asked to come on board and succeed Dennis as the administrator of FMSMF.

“In the first three months of this year, we were able to find a number of musicians we could not previously find and distributed just shy of $200,000. That’s a great feeling.”

The Mission The Film Musicians Fund is a non-profit 501(c) (6) organization that was established through collective bargaining negotiations between producers, represented by the AMPTP [Alliance of Motion Picture & Television Producers], and the American Federation of Musicians.

We collect residuals for musicians when a motion picture or television program goes into what’s called secondary markets and then we distribute those monies to the musicians or their beneficiaries. That is our main purpose.

We also have a secondary purpose as an organization to support, educate and provide information and resources to producers, musicians and members of the film and television music community.

1% Residuals come into the fund when a film or television show is produced under an AFM contract with a signatory employer, should that motion picture move from a primary market, which is box office, into secondary markets, such as DVDs or pay television. Residuals are generated from the revenue in those secondary 24 November 2014

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markets; it’s a relatively small 1%. That 1% is paid into the Film Musicians Fund and we then take that money, divide it up among the musicians who are on the score of the motion picture or television show and make an annual distribution on July 1 of each year.

On Tape The Videotape Fund [LTVSMF, Live Television/ Videotape Supplemental Markets Fund] is a sub-fund of the Film Musicians Fund. That fund collects and distributes residuals to musicians who are on live television programs. Shows like Saturday Night Live, the late night talk shows or the award shows such as the Grammys or the Academy Awards. Those kinds of shows also have a residual component in their contracts that is paid into the Videotape Fund.

Not a Charity It’s important to note that the monies the Film Musicians Fund and the Videotape Fund contribute are deferred wages. They’re not royalties in the copyright sense; they’re wages that come from work performed under a signatory contract, so it is different from some of the other organizations.

Taking Over I’ve worked in the industry for over 30 years, so that makes the transition [to FMSMF] a bit easier. It also helps that I am familiar with the general needs of musicians, both from my own personal background as well as having worked with vocalists and musicians over the years. It’s also extremely helpful that I’ve had a long working relationship with Dennis Dreith, the prior administrator. He continues to work collaboratively with the fund to help us in the transition. Also, the transition is made easier working with a well-established organization that’s been around since 1972 and has an

Beneficiary Not Found Sometimes, we’re unable to get good contact information for musicians. A musician is deceased or we don’t have accurate beneficiary information. We do extensive research and have been quite successful in finding some people, but we’re not always able to accomplish that, so we’re trying to put more energy into that effort. If a motion picture done under an AFM contract utilizes a sound recording and that motion picture goes to a secondary market, the musicians on that original recording are also participants, but often the musicians aren’t aware of the Film Musicians Fund.

Some of those recordings might be older and any contact information we have is outdated. We hope we can make sure more musicians check our unclaimed residuals list and come forward with accurate contact information so we’re able to distribute the money to them.

Staying Current We place on our website an unclaimed residuals list each year. We suggest any musician should look into that list to see whether or not they have a residual. On the front end, when a musician is working under either an AFM film or television contract or under a recording contract, they should not only make sure their information is correct on that contract but also keep their information up-to-date with the Film Musicians Fund. It’s also critically important to make sure they have up-to-date beneficiary information.

New Revenue Streams The residuals we collect are driven by what is negotiated between producers and the union.

We don’t engage in collective bargaining. We basically implement what the producers and the AFM have agreed to.

But in that context, one of the emerging areas is the area of new media, whether it’s subscription or streaming services. Those are new elements of the signatory contract and we have had to make sure we understand what is happening in those new spaces, making sure we are accurately tracking, crediting and distributing residuals for those new revenue sources as well.

Over time, the new media space, subscription services, streaming services and some things not yet even conceived will become more and more important for the industry.

Redemption In the first three months of this year, we were able to find a number of musicians we could not previously find and distributed just shy of $200,000. That’s a great feeling.

Spreading the Word In 2014, we distributed payments to over 15,000 musicians and beneficiaries. There are [more] out there we would like to find and hope talking with organizations like Music Connection gives us a platform to get the word out. We’re making plans to attend SXSW. I don’t think we’ve been there before, but we think that’s another great opportunity to reach out to musicians as well as independent producers and others in the music community.

– 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

Plateau Music is seeking new talent to develop and produce.

They are specifically seeking singers and singer/songwriters who are looking for a label and/or producer. Simply submit your best song for consideration via http:// plateaumusic.com.

Blend has hacked the A&R process with innovative new record label. The music collaboration platform has partnered with The Orchard to offer its community of producers and musicians a digital distribution outlet via the official Blend.io label. The new label will develop up-and-coming talent as well established artists who are interested in new and innovative ways to connect and engage with their fans. Apart from the instant audience on the Blend site, the label will support marketing and help artists monetize their work through distribution. Blend is a Betaworks backed startup for musicians and producers to connect, collaborate and share in-progress tracks. The site supports most music software tools including Ableton Live,

FORMER IAMA WINNER TRAINOR HITS NO. 1 Former International Acoustic Music Awards winner Meghan Trainor has conquered the Billboard Hot 100 chart with her platinum selling, “All About That Bass.” The single rose to No.1 on the chart, while reaching the Top 5 at Top 40 radio. Trainor’s accomplishment marks the second debut at No.1 by a female lead artist this year, following Iggy Azalea’s “Fancy.”

This achievement comes in tandem with the release of Trainor’s debut EP, Title, on Epic Records. The EP is paving the way for the upcoming release of her first full-length album due to drop later this year.

Visit http://inacoustic.com for more IAMA updates and to submit your own music.

Logic Pro, FL Studio, Reason, Pro Tools and Garageband. Visit http://blend.io.

Memphis Industries is looking for out-of-the-box-artists.

This independent record label was established in 1998, and likes artists with quirky, left field music that’s compelling to fans of the type of music you’ll find on their roster. See http://memphisindustries.com.

White Knight Music Group and Pulse Records USA are giving artists a chance to break their “hit track” live in professional arenas & sports stadiums across the nation. Selected artists will have his or her song played in front of 20,000 to 78,000 fans at any given game across the NFL, NHL, NBA, MLB and more. White Knight Music Group executives are looking for the next high-energy sports anthem to pump up the fans, the athletes and teams. Genres can be rock, alternative, pop, country, hip-hop, dance and DJ. The tracks must be well-produced, professional, high energy and appropriate for public performance. Artists must own all copyrights—no uncleared samples or covers will be accepted. The deadline for submissions is Nov. 30. Go to http://pulserecordsusa. com/2012/08/opp-stadium-sportslicensing.html.

The 32nd Annual “Country Showdown” is America’s largest country music talent show. It’s designed to find the most promising country music talent in the nation and to give those performers a chance to launch their professional music careers. The Showdown hosts 450 local talent contests sponsored by country music

SIMON LYNGE FORMS NEW LABEL Simon Lynge, the Greenland-born singer/songwriter, has formed Natural Machine Recordings and signed with CPI for North American distribution.

The label launched with Lynge’s latest album The Absence of Fear, which was released in October. The record will be supported by U.S. live dates in December and February. The October release marked Lynge’s debut in the U.S. market. Prior to that, he was the first Inuit to hit the charts in the U.K. with his debut, The Future. It reached No. 1 on Amazon U.K. Rock charts and entered the BBC U.K. charts at No. 22. Absence was recorded last year at Bell Sounds in Hollywood, CA, with Lynge and Thai Long Ly co-producing. For more information, go to http://simonlyngemusic.com. radio stations throughout the U.S. Winners advance to their respective state competitions held at leading fairs and venues. Acts then compete for a $1,000 prize, the State Title and the opportunity to advance to one of five Regional Finals. It’s the last step before the prestigious, televised National Final. The audience cheers on the Regional Winners, as they compete for the Grand Prize of $100,000 and the title of “Best New Act in Country Music.”

The competition is open to vocal and/or instrumental performers, individuals or groups of up to seven members who have not performed on a record listed on the national record charts of Billboard within 18 months preceding the local competition. Check it out at http:// countryshowdown.com.

The Hip-Hop Hall of Fame Museum is set to unveil the First Annual N.Y.C. Hip-Hop Music & Culture Festival in May 2015. It is being held during “Hip-Hop Appreciation Week” that is a nationally recognized HipHop Holiday. This one of a kind festival will celebrate the history of hip-hop music & culture from the ‘70s - 2000s with all of its elements including the foundation with major DJs including BET Smirnoff Mixmaster DJ Mell Starr, and MC artists performing that will represent all five N.Y.C. Boroughs with nationally recognized special guests appearing at each location.

The event will also feature panel discussions, educational

seminars, career opportunities, and showcases. See http:// hiphophalloffame.org.

,!"%,3 s 2%,%!3%3 SIGNINGS

Noel Gallagher’s band High Flying Birds will release their second album on March 3, 2015. Gallagher announced the completion and release date of his new album, Chasing Yesterday on Sour Mash Records. It will be available on CD, Deluxe CD, vinyl and digitally. The first single from the album, In The Heat Of The Moment will be released on Nov. 17 digitally and on limited edition 7-inch vinyl with a B-side entitled “Do The Damage.”

The announcement was made during a live Q&A streamed on Facebook and hosted by BBC 6 Music’s Matt Everitt. Go to http:// noelgallagher.com.

The Who will celebrate their 50-year legacy when they bring “THE WHO HITS 50!” tour to North America 2015. The tour will kick off its spring run April 15 in Tampa, FL and include 20 stops throughout the east before wrapping May 30 in Forest Hills, NY. The fall leg will launch Sept.

14 in San Diego, CA and begin with west coast dates throughout the U.S. and across Canada before concluding Nov. 4 in Philadelphia. Tour info and tickets can be found at http://thewho.com.

Southern Ground and Atlantic Records have announced the release of Zac Brown Band’s November 2014

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– BERNARD BAUR

first career anthology, Greatest Hits So Far. The record is scheduled to arrive everywhere on Nov. 10. It’s a collection of Zac Brown Band’s momentous run of 11 No. 1 country singles, from 2008’s 2x Platinum debut, “Chicken Fried” to 2013’s “Sweet Annie.”

With countless honors and total sales of nearly seven million, the Zac Brown Band is one of the most popular and heralded acts of the modern era. In only seven years, the three-time Grammywinning band has released a historic string of hit singles and celebrated albums. Visit http:// zacbrownband.com.

PROPS

Pussy Riot members Nadya Tolokonnikova and Maria Alekhina have launched MediaZona—a new independent Russian news outlet. The site (http://zonz. media) focuses on courts, law enforcement and the prison system. The project is intended to work hand-in-hand with their prisoners rights Zona Prava (“Justice Zone”), which was launched earlier this year. The new media outlet will closely monitor conditions in Russian prisons, police stations and courts with one of Russia’s most famous political journalists Sergey Smirnov as its editor-in-chief.

Pussy Riot member Tolokonnikova hopes that this new media outlet will close the void created by the Kremlin’s clampdown on independent media which has been ongoing since

the beginning of 2014. She notes, “Since our release from prison six months ago, we’ve felt that the Russian media are no longer able to cover what is going on.”

Artwork by the late Jerry Garcia (of the Grateful Dead) is currently on display in a museum setting at The Garcia Weir Gallery. Garcia’s daughter, Keelin Garcia, and his wife, Manasha, recently donated several pieces of the late virtuoso’s artwork to the Centre National d’art Contemporain Le Magasin (http://magasin-cnac. org) where it will be displayed in the “Art in Pop” exhibition, which runs through Jan. 4, 2015.

Visit http://garciaweirgallery.com.

Jason Aldean’s lead single “Burnin’ It Down” has officially been certified Platinum by the RIAA in only 9 weeks, making it the fastest selling single of 2014. Additionally, it has been at No. 1 on the Billboard Hot Country Singles chart since its release. The single was released in advance of his sixth studio album Old Boots, New Dirt.

“We definitely got a few sideways looks and some raised eyebrows when we released this thing,” Aldean said. “I couldn’t be happier with all the excitement around the new music…it definitely feels like we’ve got something pretty cool happening.”

THE BIZ

Manimal Label Group has launched and partnered with INgrooves Music Group

AFM & SAG-AFTRA Open New Los Angeles Headquarters The AFM & SAG-AFTRA fund—responsible for making sure performance royalties are paid to musicians—held an Open House celebration at their new Studio City, CA location. Pictured (l-r): Sam Folio, Secretary-Treasurer AFM, Trustee to the AFM & SAG-AFTRA Fund; Kim Roberts Hedgpeth, FMSMF Administrator and former Trustee AFM & SAG-AFTRA Fund; Jon Joyce, vocalist and Trustee AFM & SAG-AFTRA Fund; Stefanie Taub, Dir. Sound Recording Dept. SAG-AFTRA and Trustee AFM & SAG-AFTRA Fund; Dennis Dreith, Executive Director AFM & SAG-AFTRA Fund; Ray Hair, President AFM and Co-Chair AFM & SAG-AFTRA Fund; and Shari Hoffman, AFM & SAG-AFTRA Fund Director, Domestic & International Operations.

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DIY Spotlight Kate Callahan Establishing yourself in the music industry isn’t easy these days.

It requires talent, determination and a strong metal attitude. Well, imagine if you had those qualities but suffered a brain injury so severe most people would give up the dream. Kate Callahan experienced that trauma, but never gave up.

At 19, she was in a skiing accident and sustained brain damage. After that, she spent most of her time in the hospital rehabilitating…until doctors informed her that she wasn’t going to get any better––a declaration that would make most people lose hope.

But Kate took it as a challenge. She began guitar lessons, sometimes forgetting what she learned from week to week. But, after a while she noticed an improvement. That’s when she started writing songs and performing live.

She discovered she had the tools to develop on her own, regardless of what others thought. And, with a newfound spirit of independence she recorded and released five albums.

Her most recent, an EP titled Aha!, was released in September.

It celebrates how she overcame the odds to become a successful musician.

She’s received many nominations and awards: Hartford Advocate’s “Best Solo Performer,” Hartford Courant’s “Woman of Character,” the New England Music Awards’ “Songwriter of the Year” and Connecticut’s “Best Singer-Songwriter.”

She has also opened for legends Judy Collins, Noel Paul Stookey (Peter, Paul, and Mary) and the late Bill Morrissey, among others.

Callahan’s story is not only inspirational; it proves that amazing things can happen––if you have the right determination and willpower.

For more info, go to http://kate-callahan.com

Have a successful DIY strategy to share? Email bbatmc@aol.com for worldwide distribution and music publishing services. The company (who have released records and exclusive singles for Bat for Lashes, Warpaint, Jenny O, Duran Duran, Edward Sharpe + the Magnetic Zeros) announced the creation of a collective, in partnership with several independent labels across the globe. Manimal has also announced that they have chosen INgrooves Music Group as their worldwide digital & physical distribution and music publishing partner.

The Turtles (best know for their hit song “Happy Together”) won a critical legal victory in their lawsuit against Sirius XM satellite radio. The band sued because Sirius XM took the position that it didn’t need permission—and therefore didn’t need to pay for use of—recordings protected by state law, even though it does pay for recordings that are protected by federal law.

Well, a California federal court sided with the Turtles, holding that Sirius XM infringed band’s rights by playing their recordings on satellite [and Internet] radio without a license.

Earlier this year, SoundExchange joined with a coalition of artists in launching Project72, a campaign to ensure fair compensation for those who recorded music before 1972 and in support of H.R. 4772, the Respect Act. Progressive metal heavyweights Queensrÿche are seeking investors. In conjunction with the band’s PledgeMusic campaign for their upcoming release, Queensrÿche are offering fans a unique opportunity to become “corporate investors.” Making sure to avoid super fans from selling their house to take part, all investors will have a finance background check for the safety of all parties involved. Minimum stake for a percentage of ownership will start at $50k. Full details at http:// pledgemusic.com/queensryche.

Interested investors can head to http://queensrycheoffical/ investment.

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.

The Truth About TAXI… An Unedited Forum Post from TAXI Member James Kocian http://forums.taxi.com/post353820.html#p353820

H

i Friends, It's been awhile, but I'm still here!!

TAXI has been the singular catalyst for me in the past 2 years. I am closing in on 2 years of membership and my experience has been overwhelming. I will be at the Road Rally this year, as I've recently been invited to speak at the 'Successful Members' panel.

This is all beyond humbling to me, and I feel indebted to Michael and his incredibly talented staff.

Taking Risks…

In a nutshell, TAXI has motivated me and allowed me to take creative risks; to dabble in genres I didn't even know existed, and to develop relationships with high-level music professionals I otherwise would NEVER have had access to.

Major Publishers

So far this year I've signed 13 songs with major publishers. I'm writing with people all over the USA, and have made regular trips to Nashville a part of my routine.

I've been co-writing with a guy who has had multiple (recent) #1's.

It boggles my mind actually.

Once in a Lifetime Opportunity!

I'm writing Hip Hop tracks for a well known rapper's next project, and I'm connected to a MultiPlatinum, Grammy-Winning Producer who allows/asks me to regularly send him material to pitch to the biggest artists in music. That in and of itself is enough is a once in a lifetime opportunity, and it's been ongoing for nearly a year.

There's more, but this isn't about me. It's about: T-A-X-I Have I mentioned that I live in GREEN BAY, WI? I mean, sure, we have the Packers — but it isn't exactly a music hub for anything more than Journey tribute bar bands.

I really can't stress how invaluable TAXI is to people who are willing to put the CRAFT into the ART of songwriting and music production. The "Forwards" section of the [TAXI] forum itself is worth the membership fee. Why?

Figured Out What Elements I Missed…

It's not to brag about Forwards.

What I did was hit the [TAXI] Forums after I got “Returns” and found members who received “Forwards” for the same listings.

Then I went and LISTENED. I analyzed the differences in our songs.

Lyrics. Vocals. Arrangements.

Instrumentations. Productions. I re-read the listings, and figured out what elements I missed. And I adjusted accordingly.

Where else can you get that?

The success of members (at least this member) is a TEAM effort. And I am honored to consider TAXI part of my team. It is possible to succeed.

To “make it.” To realize our dreams.

Don't quit. Don't settle. Don't lose hope. And stick with TAXI.

The World’s Leading Independent A&R Company

1-800-458-2111 • TAXI.com

June 2014

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FAT WHITE FAMILY

LING LI Date Signed: August 2014 Label: Organica Music Group Type of Music: Pop / Adult Contemporary Management: Elton Ahi / Rusk, 323-462-6477 Booking: Elton Ahi / Rusk, 323-462-6477 Legal: Kia Kamran / Kia Kamran, Attorney at Law, 310-284-8600 Publicity: Organica Music Group, 310-943-1000, info@ organicamusicgroup.com Web: http://linglimusic.com A&R: B.J. Lobermann

S

hanghai-born performer Ling Li came to America in 2008 to study business. But her heart wasn’t in it; business was not her true passion. She’d been singing since she was very young and had won a variety of awards in China. Sadly, though, her opportunities there were limited. But once she arrived in Seattle, WA, options abounded and she could deny her inner or outer voice no longer.

“That’s why I love this country,” Li says of her new home in America.

“It’s full of opportunity for everybody. In China, there wasn’t much available [for singers]. I still loved singing when I came here. I got invited to participate in competitions and appear on local Seattle TV. I also performed in various schools along the West Coast.”

In 2013 she released a Mandarin cover of “The Moon Represents My Heart.” Soon after, she was asked to perform at a fashion show afterparty, where she caught the eye of Elton Ahi, a music producer and engineer who has had a hand in more than 100 films including The Last of the Mohicans. “Elton introduced himself and invited me to audition at

“Organica was thinking that I do one single first, if I can find a good enough song that everyone can relate to.” his studio,” Li recalls. “Two months later, he signed me to a management deal.” Through his connections, Ahi then helped her land a deal with Organica Music Group.

Li’s plan is to record a single or two for release in June 2015, once the right song can be found. “Organica was thinking that I do one single first,” the singer explains, “if I can find a good enough song that everyone can relate to and can create a buzz. That’ll test the market to see how I do. If that goes well, we’ll move to the next single and then, hopefully, an album.”

Li says she had to be realistic, “because I’m 25 now. I’ve passed the age of becoming a pop idol like Britney Spears.” Indeed, she hopes that through her Music Connection Signing Story, songwriters will contact her with potential singles.

Album and single titles are still up in the air, but of course there’s still ample time––for titles and for her career. – Rob Putnam 28 November 2014

musicconnection.com

Date Signed: May 23, 2014 Label: Fat Possum Band Members: Saul Adamczewski, guitar, backing vocals; Adam J Harmer, guitar, backing vocals; Dan Lyons, drums; Joe Pancucci, bass; Lias Saoudi, vocals; Nathan Saoudi, organ.

Type of Music: Rock / Alternative Management: Stuart Green Booking: Tom Windish - Windish Agency Legal: Richard Grabel Publicity: Chloe@pressherepublicity.com Web: http://fatwhitefamily.bandcamp.com A&R: Matthew Johnson & Steven Belivacaqua

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at White Family bombard the music industry like they do live shows––open-minded, wildly uninhibited and with a strong sense of go-with-the-flow bravado. And that’s exactly how these U.K. rockers continue growing their fanbase: playing hard and audaciously, both in and out of the studio.

The band released their first few singles through Trashmouth Records with no huge expectations or prospects during recording. According to lead vocalist Lias Saoudi, “loose connections” eventually formed after headlining some gigs around London with another local garage band.

“We were just kind of getting along with our lives,” Saoudi explains. “[It] worked out quite well because there was no pressure.”

The guys have since been pegged by Q magazine as the “most important band in Britain right now” and just launched Without Consent, an independent record label in partnership with PIAS Cooperative. This transnational marketing group will provide worldwide distribution and publicity to guide and launch the Family’s latest indie venture.

“We don’t go about it with a lot of preparation. We have a kind of scaffolding of ideas to go along with.”

Little money means sparse budget, which motivated FWF to pursue artistic visions uniquely their own. Taking full advantage of free marketing and promotion, thanks to popular online platforms like Facebook and Bandcamp, helped propel the cause. Saoudi believes that such unrestricted incentives and opportunities eventually led to further “room for creativity and passion” to flourish.

And now the band is ready to embark on a North American tour and rerelease their debut album Champagne Holocaust with the support of their new partnership with Fat Possum, an independent label based in Oxford, MS. All this, while still maintaining a strong sense of artistic freedom and innovation.

“We don’t go about it with a lot of preparation,” Saoudi says. “We have a kind of scaffolding of ideas to go along with.”

If things ever get too complicated, the band’s manager Stuart Green is always there to coordinate and assist. Everything seems to fall together in the end, although somewhat haphazardly. Sometimes, chaos manages to inspire true aesthetic flair.

Fat White Family will release new artist collaborations and music under Without Consent sometime next year. – Danica Bellini

DAVID SHELBY Date Signed: July 2014 Phaeton Trumpets Rep: Peter LaPlaca Telefunken Rep: Jason Scheuner Label: Highway South Records Type of Music: Country / Rock Management: Ed Gertler Booking: Kenny Bott/505 Artist Mgmt.

Legal: NA Publicity: Kat Atwood/Music City Media Web: http://davidshelbymusic.com

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or Detroit-based country artist David Shelby the concept of being in the right place at the right time couldn’t have been more apropos; especially as it applied to two recently acquired endorsement deals.

This past summer the Highway South recording artist was appearing at the annual NAMM show in Nashville, a large convention where instrument and gear manaufacturers show off their latest wares. This became the birthplace of his professional association with both Phaeton Trumpets and Telefunken Microphones.

“I have a degree in jazz and contemporary media from Wayne State University,” explains Shelby. “Trumpet was my first instrument and the last sideman gig I had was playing with the Glenn Miller Orchestra. I

“Go to trade shows and introduce yourself. Try to get a performance at a NAMM event.” always wanted to incorporate trumpet into my live country show, but I didn’t want it to be like a ‘Weird Al’ Yankovic kinda thing. I wanted it to make sense and work. Phaeton was at the show and I started talking to Pete from the company about what I was trying to do.”

Shelby set up a Nashville showcase with some of his friends from Bob Seger’s horn section. They arranged a brass line on one of his original songs, and when Phaeton heard that they were immediately sold.

Telefunken Microphones—a German product now made in the USA and based in Connecticut—fell into Shelby’s lap in a similar manner.

“I have a lot of high overtones in my voice,” says the modern country singer. “They just came out with a new line of high performance microphones that were perfect for me. I inquired at that same NAMM show about working with them and they told me what they needed by me promoting their product.”

Shelby, who is currently supporting his latest release, Oh Yeah, offers sage advice from his experience in securing endorsements with a manufacturer. “Go to trade shows and introduce yourself. Try to get a performance at a NAMM event. Also, try to assemble a good team.

Finding reputable people with good track records in this business is invaluable.” – Eric A. Harabadian

LARKIN POEPOE LARKIN Date Signed: September 2013 Label: RH Music Band Members: Megan Lovell, lap steel, vocals; Rebecca Lovell, electric and acoustic guitars, mandolin, vocals.

Type of Music: Roots Rock and Soul Management: Monica Tannian/Milk Money Consulting, Inc., 404-685-1695 Booking: Jon Bell/New Frontier Touring, 615-321-6152 Legal: Steve Sidman/The Sidman Law Firm, 404-920-0120 Publicity: Judi Kerr PR, 310-477-8191, judikerr@aol.com Web: http://larkinpoe.com A&R: Laura Reid

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tlanta-based sister act Larkin Poe (distantly related to famed poet Edgar Allan Poe) 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 Restoration Hardware. It was a considered decision that was only made after their autonomy was assured.

“We were fiercely independent,” 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.”

“They courted us for a long time and were patient. We give them credit for that.”

It was around this time that Damian Lewis (a friend of band-manager Monica Tannian and connected with Eoin Harrington at RH Music) reached out.

“Eoin asked Damian if he knew any artists who would be a good match for their label,” Rebecca recalls. “Damian turned around and asked Monica. That’s how the connection was made.

“At first, we were apprehensive 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.”

Kin dropped in America on Oct. 21. It dropped earlier in Europe, where the band have tour dates with Elvis Costello. Restoration Hardware’s move into music is seemingly an unusual choice. But perhaps it represents the future of the industry: businesses diversifying into the sonic sphere. – Rob Putnam November 2014

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TAXI Fuels up for Road Rally

Greggory Smith for SESAC Atlanta Songwriters, artists, publishers and music industry professionals turned up to welcome Greggory Smith back to Atlanta, GA as SESAC’s new Associate Director, Writer/Publisher Relations. Pictured (l-r): Trevor Gale, SESAC; London On Da Track; Greggory Smith, SESAC; and hit songwriter-producer Bryan M. Cox.

Anne Cecere Presides Over CCC Anne Cecere, BMI’s Director of Film & TV Relations, has been elected President of the California Copyright Conference (CCC), for the 2014–2015 term.

Cecere takes the helm as the youngest president in the CCC’s 61-year history, taking over from her predecessor, Warner/ Chappell Music, Inc. VP, Jeremy Blietz.

TAXI, the world’s leading independent artist & repertoire company, will be holding its annual three-day Road Rally this month.

By joining TAXI, you will receive two free tickets to the event, being held in Los Angeles on Nov. 7, 8 and 9. (Registration begins on Nov. 6) at the Westin Los Angeles Airport Hotel.

The annual Road Rally is an excellent way to meet top film & TV music supervisors, production music library execs, publishers, producers, managers and highlevel major and indie label A&R people.

Over the course of three days, classes, panels and pitch sessions afford an unprecedented immersion in the real music business plus opportunities to network with TAXI members from all over the world and across the U.S. This event also provides the opportunity for you to meet with the manufacturers of songwriting gear and authors of the latest books on the subject of songwriting and the music business who are on hand for sessions and workshops.

And Music Connection will be there, giving away two high-quality microphones to a pair of lucky attendees.

To find further details go to http://taxi.com.

Last Chance: International Songwriting Competition The deadline for the 2014 International Songwriting Competition is Nov. 4. Prizes include over $150,000 in cash and merchandise,

ASCAP Writers Rule Castle The American Society of Composers, Authors and Publishers (ASCAP) invited 18 top songwriters and producers to write the hits of tomorrow at its fourth annual songwriters retreat in France. Château Marouatte is owned by famed music industry executive Miles Copeland. Pictured (l-r): songwriting collaborators Amir “Azeem Salem” and Ashley Campbell.

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including a $25,000 cash Grand Prize and a scholarship to Berklee College of Music’s Summer Performance Program for the winner of the Teen category.

Judges this year include: Tom Waits; American Authors; Sara Evans; Sara McLachlan; John Hiatt; Bastille; Pat Metheny; Monte Lipman, Founder, Chairman and Chief Executive Officer, Republic Records; Dan McCarroll, President, Warner Bros. Records; Craig Kallman, Chairman and CEO, Atlantic Records; Jeff Castelaz, President, Elektra Records; and many more.

For more information or to enter the competition, visit http:// songwritingcompetition.com

Spirit Bolstered by Fortress

Spirit Music Group has received $50 million in new capital commitments from Fortress Credit Corp. The company said it will use the funds to acquire additional music rights, both publishing and masters, as well as to increase its roster of iconic catalogs, A&R activities and further expand its international presence.

The company recently acquired the Cal IV Entertainment, a Nashville-based indie music publisher, production and artist management firm.

Spirit is headed by company chairman, David Renzer, formerly chairman and CEO of Universal Music Publishing Group. Spirit represents a broad range of writers including Alan and Marilyn Bergman, Rick Nowels, Allan Rich and Pete Townshend. Visit http:// spiritmusicgroup.com.

Inside Stories with Nashville Songwriters Some of Music Row’s biggest hit-writers of the past 30 years came out to 3rd & Lindsley Bar & Grill to celebrate the release of Nashville Songwriter: The Inside Stories Behind Country Music’s Greatest Hits. Pictured (l-r, seated): Jeff Silbar, Craig Wiseman, author Jake Brown with arm around Freddy Powers and Catherine Powers. Standing (l-r): Neil Thrasher, Sonny Curtis, Bob DiPiero and Kelley Lovelace.

– DAN KIMPEL dan@dankimpel.com

Pandora Makes Moves with Publisher

Pandora has executed a music rights deal with BMG. In an effort to secure a more favorable contract for the songwriters and copyright holders, the fourth largest publisher executed a direct deal with the most popular streaming service. In doing so, they bypassed the two biggest U.S. Performing Rights Organizations BMI and ASCAP, who traditionally handle all licenses for digital performance royalties but whom remain shackled by government regulations and archaic consent decrees.

This deal follows Pandora’s recent deal with Merlin, which allowed Pandora to negotiate direct deals with thousands of independent labels. The new agreement gives BMG unspecified “marketing and business benefits,” according to a Pandora statement.

More details at http://bmg.com.

BMI Announces Revenues

Broadcast Music Inc. (BMI) saw revenue collections grow to $977 million in the past fiscal year, up 3.5 percent from the $944 million it gathered the year previously.

Meanwhile, royalty distributions to publishers and songwriters grew 3.2 percent to $840 million from $814 million in the prior year ending June 30, 2013. The organization further reported that over the last 10-year period, it had generated about $8 billion in revenue and distributed about $7.5 billion in royalties.

Some of BMI’s biggest songwriters include Tayor Swift, Adam Levine, Shakira, Miranda Lambert, P!nk and Nicki Minaj.

It also represents television composers such as James Newton

Howard, Steve Jablonsky, Mark Mothersbaugh, Brian Tyler and the legendary John Williams.

The organization said its growth can be attributed to its continuous drive to diversify its sources of revenue. In the past year, royalty payments from cable and satellite entertainment comprised the largest revenue stream for BMI’s domestic operations, while licensing income from digital services, international sources and from businesses such as bars, hotels, fitness facilities and restaurants all posted significant gains.

BMI said it processed more than 500 billion copyright transactions reported from more than 650,000 music licensees. More details at http://bmi.com.

Paul Karpowicz Elected BMI Chairman Paul Karpowicz, President of the Meredith Local Media Group, was elected Chairman of the Board of Directors of Broadcast Music, Inc. (BMI) at a Board meeting held in Nashville, TN. He was most recently Vice Chair of the BMI Board of Directors. Karpowicz joined the BMI Board in 2007.

Sparkler Lights Up Downtown

Andrew Sparkler, formerly a senior executive at ASCAP, has joined Downtown Music Publishing (DMP) where he has been appointed VP/ Business Affairs & Operations.

In his new interdisciplinary role, Sparkler will supervise DMP’s direct relationships with both domestic and international collection societies, manage integration between DMP’s business affairs, administration and technology departments and develop new business opportunities for the company’s client roster. He will be based in New York. See http://dmpgroup. com for further information.

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

Atlas and Combustion Music Fire up Nashvillle Atlas Music Publishing has acquired the catalog of one of Nashville music’s most successful independent music publishers, Combustion Music. The deal marks the opening of Atlas Music Publishing’s Nashville offices and launches a long-term joint venture with Combustion Music under the banner Combustion Atlas. Pictured (l-r): Atlas CEO, Richard Stumpf and Combustion Music owner/ President, Chris Farren. Follow up at http://combustionmusic.com.

ASCAP’s Legends in the ATL ASCAP’s Rhythm & Soul team hosted its 3rd Annual Atlanta Legends Dinner in honor of music mogul Antonio LA Reid. The annual ceremony pays homage to those who have brought great honor to the city of Atlanta through their achievements in music. Pictured (l-r): John Titta, ASCAP; Timbaland; and Nicole George-Middleton, ASCAP.

Wilson Makes Big Deal Big Deal Music has welcomed Dan Wilson to its roster, publishing new compositions under its joint venture deal with BMG Chrysalis U.S. Big Deal will now also exclusively handle the Semisonic back catalog. Wilson is one of the world’s most successful contemporary songwriters, having co-written Adele’s global hit “Someone Like You” and Dixie Chicks’ “Not Ready to Make Nice,” for which he received two Grammys. See http:// bmg.com.

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Jon Bellion

Hit Songwriter (Jason Derulo, Eminem) and Visionary Artist

By Dan Kimpel

I

PRESENTS

Marc Orrell of the Dropkick Murphys in

WILD ROSES

with FOLK RIOT A CONCERT BENEFITING

To purchase tickets go to

feedlosangeles.org thesatellitela.com

THE SATELLITE 1717 SILVERLAKE BLVD NOV 11 / 8:30 PM / $15 21+

For more info on PATH please visit epath.org

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n his new full-length, The Definition, Jon Bellion’s lyrics illustrate biting candor, defiant proclamations and intimate autobiographical detail.

Durable rhythm tracks align to irresistible hooks and airy, high-gloss productions with Bellion’s tenor voice and honeyed, multi-tracked harmonies soaring high above.

The disparate musical points of reference––some of whom Bellion name checks in songs––include Lupe Fiasco, Death Cab for Cutie, Wu-Tang Clan and Band of Horses. “I wanted this album to sound like J. Dilla,” he says. “But like J. Dilla made a Pixar movie.” The sound of The Definition that he characterizes as “super bright, super attractive and super colorful” has a visual frame of reference. “I was watching Pixar movies before going into the studio,” he says. “They are so futuristic, so digestible and so full of color.”

As a songwriter of pop hits like Jason Derulo’s “Trumpets” and Eminem and Rihanna’s “Monster,” Bellion might seem like the latest in a string of collaborative pop wunderkinds. With the release of The Definition, it is essential to Bellion that listeners understand that this is not the case. “Every song on The Definition is better then ‘Monster,’ that goes without saying,” he confirms.

In his song “Munny Right,” he sings “Fast forward now I’m 22/Half a million after taxes just to make a couple songs.” The economics of a hit song that grant him artistic autonomy do not go unappreciated. “The fact I wrote a hit is phenomenal,” he confirms. “It’s not that I’m ungrateful. I just want to make sure people listen to what I take pride in. The publishing thing is amazing, but the artistry is really my baby and what I think is going change the culture and push it forward.”

Growing up in a suburban Long Island, N.Y. community, Bellion began dabbling with a keyboard his older brother brought home that enabled him to create beats. “It was just a long process of making whole songs,” he remembers of his childhood explorations. “And I slowly got better at the craft of making full records by myself.”

Dropping out of college, Bellion made a mixtape that found its way up from the underground. “I had just been fired from my job. Two days later I get a call from this kid named Matt who was an intern at Warner Bros. I had no idea who he was. He had gotten my number from my college or something. He said, ‘Kara DioGuardi wants to talk to you.’”

Bellion had no idea who DioGuardi was either. Googling her, he discovered that the former American Idol judge was a hit songwriter and influential music executive. “I took the meeting and saw there could be a publishing deal. I knew that her company, Arthouse, could really take care of that aspect of my career; getting in with successful producers and writers who I could learn from and apply to my own artistry. They are great publishers who set me up to succeed.”

Although the studio is his home, Bellion relishes live performances. His current tour includes large clubs and listening rooms and will conclude at the Highline Ballroom in New York City. “I think a lot of people expect on this tour for it to be a ‘sit down piano’ type of feel,” he qualifies. “It’s super live. It can’t be the same record with stems that a DJ is spinning, playing through the house speakers with me singing. We really do a ‘Rage Against the Machine’ transcription of all my songs.”

Bellion, who is an avowed Christian, believes that there is much more to life than perceived levels of success. “The money, who you are, all of these things come and they go. We live in a world that’s going to disappear and we are going to leave one day. If my career fell apart tomorrow, if I had zero in my bank account, that does not affect the way I feel about myself or the way God made me, because none of that defines who I am.

My identity is not in my music. I am a child of God before anything else.”

The Definition is available for free download at http://jonbellion.com.

Contact Kelechi Aharanwa, Shore Fire Media, kaharanwa@shorefire.com

SESAC.com

You write the songs.

We’ll write the checks.

SESAC pays royalties every single month.

SESAC pays our songwriters and publishers for radio play every single month. While you are writing the songs, we’re writing the royalty checks so you can spend more time making great music and less time worrying about getting paid. Take a deep breath, relax and visit sesac.com to get the royalty treatment you deserve.

November 2014

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DROPS

Memoirs of a Madman, a CD/DVD compilation on the career of Grammy-winning rock legend Ozzy Osbourne recently dropped on Epic Records/Legacy Recordings. The two-disc DVD set compiles classic music videos, unreleased and out-of-print live performances and interviews from the Black Sabbath lead singer’s 40-year solo career. Contact Mitch Schneider at MSchneider@MSOPR.com for more information.

VERY EXTREMELY DANGEROUS

Tim Burton’s The Nightmare Before Christmas will run at Hollywood’s El Capitan Theatre through Nov. 2. The animated cult film, first released in 1993, is showing in 3D with interactive 4D sensory effects like wind, snow, fog and more. There is also a “making of” exhibition, featuring a display of sets from the making of the movie, directed by Henry Selick (James and the Giant Peach), and based on Burton’s story and characters. Peter Goldman with Davidson & Choy Publicity can provide details, P.Goldman@DCPublicity.com.

Feast of Friends, a never-before-released documentary on the Doors will drop Nov. 11.

Produced by the band, the film will share an intimate look at the band in summer 1968 that has kept from the public until now due to iconic lead singer Jim Morrison’s legal issues––the uncompleted film only showed at a few film festivals. Released through Eagle Rock En-

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tertainment with the soundtrack remixed and remastered by longtime Doors co-producer/ engineer Bruce Botnick, the original film was done by the band’s friend and fellow film graduate Paul Ferrara.

In addition to the full version of Feast of Friends, the release includes a component called Encore, a complimentary piece providing a deeper look into the Doors through footage taken from Feast of Friends.

Another component is The Doors Are Open, a British TV documentary originally aired in 1968 focusing on the band’s performance at London’s Roundhouse.

Finally, the release includes The End, a feature filmed in Toronto in August 1967.

Contact Carol Kaye at Carol@KayosProductions.com.

In treacherous weather one night last winter, southern rock band Drive-By Truckers played their most recent release, English Oceans, in full at the 40 Watt venue in their native Athens, GA to a packed audience. Fans can relive the concert through a live film entitled Black Ice Vérité, directed by Jason Thrasher and set for release on Nov. 18. In addition, an extended deluxe edition of English Oceans, the group’s 12th LP, will drop that day on CD and white vinyl with eight live bonus tracks. Those live songs include “Dead Drunk and Naked” from the band’s 2001 release Southern Rock Opera and “Shit Shots Count” off English Oceans, which release in March this year. Email Kelly Kettering at Kelly@ATORecords.com, and watch the trailer at https://youtube.com/ watch?v=KSch5wrw8JQ.

On Nov. 25, a Paul Duane-directed documentary on the infamous rockabilly artist Jerry McGill will be release on DVD by Fat Possum Records. A news release describes the late artist as a “violent dope fiend, con artist, burglar, bank robber, FBI fugitive and hard-time yard bird” who fell into that lifestyle after cutting a single recording for Sun Records in 1959.

The film, Very Extremely Dangerous, was created by Duane and Memphis music maven Robert Gordon, capturing McGill during his most recent attempt at a musical comeback prior to his death in 2013. A CD of McGill’s lost album is also included in the release along with the film soundtrack. Guests that appear are Ry Cooder, Alex Chilton, the North Mississippi All Stars and Waylon Jennings with whom McGill had toured as a rhythm guitarist and road manager. Contact Cary Baker at Cary@Conqueroo.com.

OPPS

Those who create soulful dance music are welcomed to submit up to 10 songs for consideration on a televised dance show based in Las Vegas. The company is seeking instrumental and vocal submissions in the style of Aretha Franklin, Tina Turner and Patti LaBelle. Artists are compensated $100 per song aired, with potential for additional compensation. Details can be found at http:// submitmx.com/projects_listings.php?id=967.

A Los Angeles music library whose clients include NBC Universal, Sony, Esquire, E! Networks, A&E and MTV is looking for up-tempo and mid-up-tempo “instrumental modern radio

– JESSICA PACE j.marie.pace@gmail.com pop” ASAP for new television series. The site named artist references such as Katy Perry, Selena Gomez and Ke$ha. Composers are asked to submit as many as 10 instrumental tracks. Track length should be about two minutes. See http:// submitmx.com/projects_listings.php?id=1162 for submission guidelines.

Compensation is 50/50 share of master use/sync fees and backend royalties. This opportunity is ongoing through the rest of the year.

The art director of videogame BioShock has teamed up with folk-rock artist Chuck Ragan and other alt-Americana musicians for a new videogame known as The Flame in the Flood. Still in development, the videogame pulled in over An L.A.-based music library $64,000 within 24 hours of is seeking two-minute instruthe Kickstarter campaign mental track submissions launch. By mid October, donaCHUCK RAGAN from “modern hipster trend tions reached over $140,000. pop rock” bands in the style Other artists contributing of Neon Trees, the Killers, original music to the game’s Death Cab for Cutie and soundtrack include The FearImagine Dragons for television placement. less Kin and Camaraderie. Once fully funded, Compensation is 50/50 share of master use/ the game will be released sometime in 2015. sync fees and backend royalties, and up to Find the Kickstarter video at https://kickstarter.

10 songs can be submitted through the year’s com/projects/molassesflood/the-flame-in-theend. Visit http://submitmx.com/projects_listings. flood and email Everyone@Reybee.com for php?id=1165 for details on how to send tracks. more information.

HIT HER WITH THE SKATES Rock of the ‘50s, ‘60s, ‘70s and ‘80s is sought for a Las Vegas dance TV show. Up to 10 instrumental and vocal submissions will be accepted per applicant. Selected artists will receive $100 for every televised song. Details can be found here: http://submitmx.com/projects_listings.php?id=966.

PROPS

Four new officers recently joined the board of directors for the Guild Of Music Supervisors (GMS), a nonprofit trade organization that promotes music supervision in film, TV, advertising, games, trailers and emerging media. The nine-seat board, which guides the GMS, elected the officers who began their two-year terms Sept. 1. The new members are President John Houlihan, Vice-President Tracy McKnight, Secretary Jonathan McHugh and Treasurer Joel C. High. Contact Houlihan at president@ guildofmusicsupervisors.com, or visit http:// guildofmusicsupervisors.com.

Lorde was parodied in two recent episodes of South Park in consecutive weeks. Though not

Out Take

acquainted with the animated series from Comedy Central, the New Zealand native welcomed the ribbing, taking to Instagram to spread the word: “Well shit this is downright sweet. Take that haters i got a south park episode.”

Created by Christine Rea & Rick Briskin, Hit Her with the Skates: A New Musical, reached a milestone when the creators held two fully-blocked equity readings recently at Pearl Studios in New York City. The show's songs and book were debuted at the readings. Among talent pledged to the project is Corey Glover of Living Colour who has agreed to appear as a "Special Guest Artist." The show is directed

by Mary Beidler Gearen and was cast by Bob Cline. The sound design is by Bruce Landon Yauger. Acting as special creative consultant is Kent Gash, founding director of NYU Tisch School of the Arts. Set in 1977, the heartwarming story deals with an awkward adolescence of a 12-year-old girl whose life changes after a time-traveling spiritual journey. Above all, say the show's creators, Hit Her with the Skates "explores the magic and hope of finding your one true love." For complete info, including complete show synopsis, casting and Kickstarter link, visit http://hhwts.com.

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

John Swihart Composer

Email: Soundtrack Music Associates, info@Soundtrk.com Web: http://johnswihart.com Most Recent: Cristela and Red Band Society (TV), A Light Beneath Their Feet (film) Breakthrough: Napoleon Dynamite Like many performing artists and composers, John Swihart got his start in Los Angeles working an odd job painting houses to pay the bills and spending the rest of his waking hours writing in his home studio and sending out a constant stream of demos.

Swihart is now best known as the guy who wrote the Casio-inspired score to 2004’s nerd cult classic film Napoleon Dynamite, which came from Swihart’s (at the time) unknown status as “the guy they could afford.”

“After that film came out,” Swihart says.

“I could get an agent. Once you have a hit, you’re that guy that did that thing, and I became the flavor of the week that year,” But that opened the doors to work on TV shows like How I Met Your Mother and films like Employee of the Month and Youth in Revolt.

“The same guys get hired again, because it’s a consumer confidence issue.

When they’re trying to sell these projects to investors, they need names,” he says.

“Composers need to write as much music as they can. Nobody thinks you can do something unless you’ve already done it, if you can provide a demo and it has music they can cut into their movie and help their story come to life.”

Swihart recommends undiscovered composers spend most of their time writing music and the rest of the time hustling and looking at job boards––which he concedes does take a mental toll. He also advises working for a composer, or at a postproduction facility, to become acquainted with the stress level and daily operations.

As for taking work as it comes versus maintaining artistic integrity, Swihart says that is contingent upon the composer’s financial situation. “There’re a lot of people in this business who stand on giant shoulders financially. I think waiting 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.”

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Austin City Limits 2014

Sticking with the dual-weekend approach from last year, ACL has officially come to a close. We sent our best Texas photographer to catch the action of both weekends including Lucius (a), AFI (b), Minor Mishap (c), St Vincent (d), Future Unlimited (e), Temples (f), Spoon, Fitz & the Tantrums, Spanish Gold, Broken Bells and many more. See a full photo wrap at http://musicconnection.com/favorite-images-austin-city-limits-2014. Photos by Jody Domingue.

A

B C

D

E

F

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– ANDY MESECHER andym@musicconnection.com

AMP Show 2014 The 10th annual LA AMP SHOW held at the Airtel Plaza Hotel in Van Nuys was once again packed with guitar and bass enthusiasts. Guitar Center’s stage included performances highlighted by Steve Stevens, Justin Derrico and more. The “Tone Wizards” and “Players Panels” featured discussions from a cross section of manufacturers and artists including James Demeter, Dug Pinnick, George Metropoulos, Grant Geissman, Marc Bonilla, Pat Quilter, Dave Friedman and more.

There were prizes given away both days from Guitar Center, Vox, Celestion, Bad Cat, EarthQuaker, Jensen, Bogner, Solid Cables, Al Bane, Dunlop Strings, V-Picks, Mercury Magnetics, and others. Pictured (l-r): Dave Friedman, Steve Stevens and Loni Specter.

Tidbits From Our Tattered Past

Americana FEST 2014 Music Connection was a sponsor for this year’s Americana Fest in Nashville, TN. The event provided a music conference, an award ceremony and plenty of live music. Pictured on stage during the show’s finale (l-r): Jim Lauderdale, Amanda Shires, Don Was, Jason Isbell, Joe Henry, Brady Blade, Buddy Miller, Rosanne Cash, Joachim Cooder, John Leventhal, Ry Cooder, Parker Milsap, The Milk Carton Kids, the McCrary Sisters, Paul Janeway (of St. Paul & the Broken Bones) and Rhett Miller. Full details at http:// americanamusic.org.

GETTY IMAGES FOR AMERICANA MUSIC

1995–Candlebox–#20

FRANK MELFI

Robert's Planting Season

An ABC Backer Larry Weir from National Record Promotion was on hand for the ABC concert at the Saban Theatre in Beverly Hills.

Here he visits with lead singer Martin Fry and band leader/guitarist Matt Backer. Backer also opened the show in support of his new album Get Backer. Weir is currently working Matt Backer’s single “Histrionic Narcissist Blues” (Right Records) at radio.

Turn on the TV and you might catch Robert Plant on Colbert Report and the Tonight Show.

Head to a bookstore and you might see Plant signing books.

Well, we were lucky enough to catch him doing what he does best: perform. Plant is pictured here at the Palladium on his way through Los Angeles.

Seattle rockers Candlebox chatted with MC in this issue about the pressure of following up a triplePlatinum debut album. "It wasn't necessarily pressure to do better than the last album," stated the band's Kevin Martin, "it was just the pressure of getting into the studio and having to write another record when you only have two songs going in." Also in the issue is a profile of Blessid Union of Souls and a live review of Maids of Gravity.

2002–Composers–#21 This issue not only featured a roundtable of film/TV scorers like Mychael Danna, Craig Armstrong, B.T., Rachel Portman and James Venable, but also a feature on Song Placers, the folks who steer songs into visual media. Elsewhere in the issue you'll find live reviews of Off Limits and all-girl Cheap Trick cover band, "Cheap Chick."

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alt-J

The British Invasion Continues B Y

R O B

Photos by Marcus Haney

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ritish indie trio alt-J (named for the Apple Macintosh keystroke combination that produces the delta symbol: ∆) achieved remarkable success with its May 2012 debut An Awesome Wave. It went on to sell more than one million copies worldwide and “Breezeblocks”––the record’s moststreamed song on Spotify––has earned more than 54 million plays. The band has also landed a number of film and TV placements, notably 2012’s Silver Linings Playbook and Showtime’s Weeds. alt-J embarked on a successful 20122013 tour that included a number of European summer festivals. The band returned to the studio in April of this year to begin work on This Is All Yours (Canvasback Music in the States, Infectious Records elsewhere), following an amicable split with founding member and original bassist Gwil Sainsbury.

Having received such a warm reception from the streaming service, the band pre-released the 13-track This Is All Yours on Spotify shortly prior to the official U.S. drop date of Sept. 23. It’s also available for streaming (but only in select locations) via the customized This Is All Yours app.

To learn more about how the band handles its career, Music Connection sat down to talk a little business with guitarist and lead vocalist Joe Newman and keyboardist/vocalist Gus Unger-Hamilton.

Music Connection: You began recording This Is All Yours in April, aiming for a September release. That’s a snappy turnaround. To what do you attribute this quick production?

Gus Unger-Hamilton: This time around, we were able to devote all of our time to the record. The first album was made piecemeal.

We toured for almost two years on it and we knew that we had to get the [new] album out this year. It was likely that necessity made us work fast. But we also found that we weren’t having writer’s block––much of the album was written on the road––and we enjoyed recording together. That just meant that we got everything done faster.

MC: How was the decision made to record at Iguana Studios, the same place that you recorded your first album? Does the band consider that to be an important choice?

Unger-Hamilton: We didn’t want to change anything [from the previous experience]. We didn’t feel that we needed to go to New York or Spain [to record]. It wasn’t necessary to go to a better studio to write a better album. We considered Iguana to be our home, to a certain extent.

MC: Charlie Andrew produced An Awesome Wave. Was it a simple choice to go with him again? How did that decision impact the album?

Unger-Hamilton: That was a very simple choice.

We’ve worked with him since around 2009. He’s part of the family, really. We got fantastic results with Charlie on the last record; we just thought,

“Why not use him again?” There was no point in shopping around for a new guy just because we could. Using Charlie kept a consistency from the first album to the second. As a band, we knew each other and our relationship with our producer was like a friendship. We’d already gone through the stages of understanding what everyone’s strengths were. We knew what we had to do to achieve a new record.

MC: How did the band begin to write This Is All Yours? Did the approach differ in any discernible way from previous approaches?

Joe Newman: We wrote this album, essentially, over three different time periods. There were some songs from the last record that didn’t go onto that album because they weren’t ready and we already had enough material at that stage.

Some of the songs we came up with while on tour. We have ideas that germinate during soundcheck, for example, which we do a quick recording of on a phone and come back to later.

Third, some of the songs came up during recording sessions. But we knew that people liked what they heard on our first album so we were anxious to give them something new.

MC: alt-J is still signed to Infectious Records.

What made you decide to stay with them when, given your recent success, you could probably find a bigger label with greater reach?

Newman: We have a five-record deal with Infectious, so that’s the first thing. However, we love being with them. They’re a small label run by five or six people that we’re all friends with.

It’s the opposite of a faceless company. They’re six faces that we know very well.

Unger-Hamilton: It’s a family for us and they’ve been very supportive. They did a great job on the first album. Making this record, we were slightly worried that people wouldn’t be feeling the vibe of it; they wouldn’t hear obvious radio singles. But they were one hundred percent behind us. They love everything we’re doing.

“Occasionally our management gets us placements, but probably not as much as the label or publisher does.”

– Gus Unger-Hamilton

MC: How has the label worked to help you achieve success?

Newman: If we want to make a mad video that involves all kinds of things or we want to get a remix done by somebody we like, they can make that happen. It’s nice to have a team of experts that can say yes to things. We make the music; we have ideas but we don’t have the means to bring them about, necessarily.

MC: How much of the band’s success is attributable to film and TV placements, like the inclusion in the Silver Linings Playbook soundtrack?

Unger-Hamilton: There are things that we’re involved in that are probably off the back of having our song “Buffalo” included in Silver Linings Playbook and that’s fantastic. But we haven’t had a song placed in a commercial where it’s become “That song from the commercial.” We wouldn’t want that to happen.

MC: What’s it like for a Brit band to try to conquer America? What’s different? Does the band consider it a challenge or is it just the same as being successful in the U.K., in the members’ minds?

Newman: The big difference is size and distance. [America is] like the U.K. times 20. It’s a challenge because it’s so vast. It’s amazing that we’ve been accepted by a big community in the States, which means that we can travel to see people that want to see us.

Unger-Hamilton: We can finish touring the U.K. in about two weeks, whereas in America it takes about eight. People ask us things like, November 2014

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“When are you coming to Jacksonville?� We could spend our whole life in America. It’s really weird but it’s fantastic.

MC: How did you connect with your management and how involved are you in your band’s day-to-day business?

Unger-Hamilton: In early 2011 we were a small, buzzing, unmanaged band. People were starting to pay attention to us and it was like a slight gold rush to alt-J. We had a lot of managers approach us and we interviewed about 11 different people.

It was quite intense, really. One time we met with four different managers in one day, all while trying to make a demo. Eventually we met Stephen Taverner [of East City Management] and Kirsten [Winn], his assistant.

Newman: We liked that they were a pair. On the one hand, it was attractive to meet managers that had impressive [client] rosters, but on

the other hand, what if they went off to America for a month with one of their other clients?

Where would that leave us? It was important to have two people managing us. Also, at the time they were only managing one other band.

We felt that we’d be the center of their attention.

They’re definitely steering the ship and we’re very happy with them.

MC: Does your manager get placements for the band or does someone else do it?

Unger-Hamilton: Sometimes it’s the label; sometimes it’s the publishing company Kobalt [Music Group]. 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 have friends in the advertising industry that want to work with you.

MC: Is there a particular song from the new album that was somehow special in the way it came together?

Unger-Hamilton: “Left Hand Free� is a good example. It came together very quickly. It was pretty much Joe playing this jazzy, rocky guitar lick. We started to respond to it. After about 20 minutes we had the song. This doesn’t happen with most of our stuff and we’re very proud of it. Usually Joe takes a long time with different ideas he’s had, he brings it to the band and we work on it for a while; maybe spend a few months finessing it.

MC: Are any of you ever surprised in the studio by what you go in with and what you come out with?

Newman: We expect songs to come out taller, stronger, better than when they went into the studio. We know that working with Charlie we’re able to beef-up our songs in this particular alt-J way. We know that with him we can try several different things.

MC: How involved is the band with mixing and mastering?

Unger-Hamilton: Mixing is something that we’re very involved with. It’s an important process to experience. But mastering is something that’s so technical that we wouldn’t be able to contribute much to it. When our first album was about to go into mastering, someone suggested that we attend the session because it would be the best that we’d ever hear our record sound.

So we went and it’s true: you’re listening to your record in a room that’s built exclusively for the perfection of sound. That was a cool thing to do.

MC: Infectious Records was acquired by BMG Rights Management in September. How do you guys feel about that? Will it be an advantage?

Newman: It’s not a big consideration for us.

We were surprised [by the acquisition] but if Infectious is happy, then we’re happy. We don’t want to get too involved in the business side of

QUICKFACTS escalation, [more money is r "MM UPME UIF OVNCFS PG 4QPUJGZ QMBZT PG UIF coming in], but at the 14 tracks on alt-J’s debut album An Awesome Wave has topped 200 million. In RIAA same time thePlatinum. costs are terms, that’s 200 times r 5IF BMU + LFZTUSPLF DPNCJOBUJPO PO BO going up astronomically.�

Apple Macintosh produces the delta symbol 0WFS ZFBST PG 4530#& UVOJOH UFDIOPMPHZ 1"$,&% */50 " 4-&&, )"/%)&-% 56/&3 .",&4 5)& 4530#01-64 )%ĆŠ 5)& ĹŤ#044ĹŹ 0' "/: 56/*/( 5"4, UI PG B 'SFU "DDVSBUF 5VOJOH Ĺ° )6(& 56/*/( 4$3&&/ Ĺ° 07&3 48&&5&/&% 56/*/(ĆŠ 13&4&54 3&$)"3(&"#-& #"55&3: Ĺ° 1-":#"$, 50/& (&/&3"503 Ĺ° "7"*-"#-& .&530/0.& 015*0/ Ĺ° 64# 1SPHSBNNBCJMJUZ

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The Sound of Precision www.PetersonTuners.com | USA | 708.388.3311 Š2014 Peterson Tuners. The terms Sweetened Tuning and StroboPlus HD are trademarks of Peterson Electro-�Musical Products, Inc. Buzz Feiten Tuning System is a registered trademark of Buzz Feiten Design Co., Inc.

3840 July November 2014 2014

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(∆), which scientists use to indicate change.

Accordingly, the band is sometimes––or alternately––referred to as Delta.

r *O An Awesome Wave won the British Mercury Prize. The band was also nominated for three Brit Awards: British Album of the Year, British Group of the Year and British Breakthrough Act. An Awesome Wave was declared BBC Radio 6’s Music Album of the Year in 2012. r 5IF CBOE T TJHOBUVSF TPVOE IBT CFFO BUtributed to the members having lived in the student dormatories of Leeds University.

Noise had to be minimized then, so when the guys rehearsed they were unable to use bass or drums.

things. We’ll be working with the same people at Infectious, so hopefully things won’t change; it’ll be a seamless move.

“It was attractive to meet managers that had impressive [client] rosters, but what if they went off to America for a month with one of their other clients?

Where would that leave us?

It was important to have two people managing us.� – Joe Newman MC: There is a This Is All Yours app that allows access to the album when the user is in specific locations. Whose idea was that and how did it come about? Why only specific locations?

Unger-Hamilton: That was suggested to us

by Infectious. They took the idea from [the late English singer/songwriter] Ian Dury. There’s a bench in London that gave him his favorite view of the city. He’d go there and listen to his music.

We thought we’d do something like that, but with a bunch of benches. We found a company called Blast that would allow us to stream our record to specific geographic locations.

Newman: As a band, we like to be ahead of the curve on things like that. We did a similar thing last year at our concerts where we allowed fans to purchase a high quality, professionally edited video of the show they’d just attended. We like to be early adopters of new technology.

understand that Cameron Knight is now a support member, but not a full member of the band.

What led to this choice?

Unger-Hamilton: We needed another musician for our live shows. We couldn’t do it with just us three. We held auditions and Cameron was our first guy. We got on really well and he learned all of the material. Also, he was a similar height to the rest of the group, which was nice because Gwil was tiny. It was a good match and he’s now on tour with us in a purely session-musician kind of role. That’s how we’ll do it from now on: the four of us on the road and the three of us [including drummer Thom Green] in the studio.

Newman: We’ve been a band for seven years now. You can’t find [a replacement] at the drop of a hat and say, “You’re now in the band.� We feel strong enough to continue as a threesome. Cameron is our session musician who joins us on tour.

MC: What are your thoughts about the future— for the band and for the industry in general?

Newman: The industry is too big for people to freak out over the Internet. At the moment, the JOEVTUSZ JT Ă OEJOH JUT GFFU BHBJO BOE SFBMJ[JOH how to make money from the Internet, which IBT CFFO JUT CJHHFTU DIBMMFOHF PWFS UIF MBTU years.

Unger-Hamilton: The profits filter down and there are ways that artists can make money. It works at both ends for everyone. And now people can access music so much easier than they ever could and that’s the main thing; you can always make money from that. But we’re kind of making it up as we go along. Things are changing so fast that there’s no proper plan in place.

It’ll be interesting to watch things develop.

Contact Jim Merlis via http://bighassle.com

[Note: In 2002, a “musical bench� was placed in one of Dury’s favorite vantage points in Poets’ [Weezer] Corner in Richmond Park, southwest of London.]

were looking for a player whose

MC: Founding member and original bassist Gwil Sainsbury left alt-J earlier this year. We

r *O UIF CBOE CFHBO SFDPSEJOH JO the Leeds University dorms with Apple’s GarageBand. Since alt-J’s first four-track EP (simply entitled ∆) with Infectious, the band has worked exclusively with producer Charlie Andrew. r 0OF PG UIF CBOE T PSJHJOBM OBNFT XBT “Films.� The members had to change it because there’s an independent band in South Carolina that goes by a similar name. In the past, alt-J has also been known as “Daljit Dhaliwal,� a clear reference to the British newsreader and television presenter of the same name. r BMU + T 6 4 MBCFM $BOWBTCBDL .VTJD XBT founded by A&R vet Steve Ralbovsky, who’s had a hand in the careers of bands JODMVEJOH UIF 4USPLFT .Z .PSOJOH +BDLFU and Kings of Leon. r 5IF i#SFF[FCMPDLTu WJEFP QPTUFE PO YouTube has achieved more than 33 million WJFXT TJODF JUT VQMPBE JO .BSDI r #Z EFTJHO UIF This Is All Yours app allows streaming of the record’s individual songs but only in band-selected locations.

www.grammymuseum.org

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MEET THE NEW BREED OF FILM, TV & GAME COMPOSERS

By Dan Kimpel

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I

MC: How important is it to work with live musicians?

SPN: There is something that you get from working with someone who is the room with you because you feed off of each other. In general, I record all of my scores in Los Angeles regardless of where the filmmaker is. They will often find this a good excuse to fly over here.

n the not so distant past, film composers had classical backgrounds and did not stoop to work in television or commercials––certainly not in video games, whose scores were

limited to flatulent beeps and buzzes.

Thanks to modern composers like

Danny Elfman, who was an original member of Oingo Boingo; Trent Reznor of Nine Inch Nails and most recently Alex Ebert of Edward Sharpe and the Magnetic Zeros––who bested Hans Zimmer and John Williams to win the Golden Globe for his score to the Robert Redford film All is Lost–– times have changed.

Rock songs and films have been in step ever since 1955 when “Rock Around the Clock “ blew up the big screen in Blackboard Jungle. But with the downsizing of the record business, pursuing sync licenses in films and television shows is, for recording artists, an appealing option to endless touring. And the sounds of video games now include everything from rock anthems to chamber ensembles and full orchestras.

In this exclusive feature, MC interviews two composers who come from non-traditional backgrounds to score big budget features; a pair of ambitious young composers making significant inroads in everything from indie films to fashion shows to games; a duo of entrepreneurial business owners who license music for films, television shows, commercial and promos; and a manager who is initiating a “sea change” by marrying his stable of noted electronic composers to film music.

For those who want to explore the art and business of matching music to motion, this ever-shifting kaleidoscope reveals a promising wealth of opportunities.

Compose Yourself: S. Peace Nistades

MC: You have just turned 25, but your resume is packed with projects. Clearly, you began early.

SPN: I did my first feature, Dark Woods, when I was 19. The filmmakers kept asking me to go out and enjoy a drink with them after the sessions, but I didn’t want to reveal my age so I kept making excuses.

Contact S. Peace Nistades, http://nistades.com, http://alkaloidemusic.com Originally from Thailand and raised in an international community, classically trained S. Peace Nistades is conversant in literature, art, fashion and culture. As a composer and creative director with his own Los Angelesbased company, Alkaloide Music Productions, he scores features and short films and creates music for television shows, trailers, video and fashion shows. Additionally, he composes concert works and produces albums. Among his high-profile credits is as the composer of music for the series Dragon Age: Redemption based on EA/BioWare’s Dragon Age games.

MC: What are you working on at present?

SPN: I am wrapping up a score for fashion designer Emily Daccarett’s new collection. This is our third project together. We’re scoring a film and collaborating with the electronic DJ who is taking the score and creating a version of it for the runway. It will premiere at L.A. Fashion Week.

MC: Your projects have spanned six continents so far, correct?

SPN: Yes. I am a big fan of European, International and Asian films. I’ve had a really wonderful relationship with these two great Swedish directors, André Hedetoft and Andreas Climent. I am working with them on my first-ever Swedish feature film.

MC: How do you connect to projects?

SPN: Deadline.com and Hollywood Reporter are sources. I look at trailer websites. I also follow a lot of what is going on in Europe because I love those kinds of films. I believe in going out and trying to find if there is a project that I am passionate about.

MC: You say that you’ve obtained gigs through social media?

SPN: Twitter especially. I’ve actually gotten films through Facebook. I did a short film called The Traveller that premiered at Cannes. The director Musaab AG wrote me a Facebook message from Dubai and pitched the movie. He was in Dubai, I was in Los Angeles, and I brought in a friend Anders T. Røsho who was in Norway to co-write the score with me. We did it over three continents, emailing and chatting online.

MC: Do you also use SKYPE? SPN: Yes, with André Hedetoft and Andreas Climent. I feel like we’ve become good friends, but we haven’t quite met yet and we have worked together for three years.

Ambience, Electronics and Orchestras: Jóhann Jóhannsson Contact Ray Costa, Costa Communications, 323-650-3588 The new Stephen Hawking bio-pic, The Theory of Everything, features a score by the Icelandic composer Jóhann Jóhannsson. Although scoring films is one of Jóhannsson’s primary endeavors, he also concertizes and releases his own albums.

MC: The Theory of Everything stretches across over three decades in the life of Jane and Stephen Hawking. How were you able to unify the music across this timespan?

JJ: It is very much an odd love story with this thread of theory, science, mathematics and physics. This is echoed in the use of certain patterns that recur. It starts with a four-note motif that develops throughout the intro and then reappears in various versions––deconstructed and retrograded versions.

MC: Does concertizing and working on other projects help you in scoring?

JJ: Absolutely! I would miss going out in front of an audience and writing for orchestras and doing pure music. Every time I go and do my own record some of that gets reflected in the next film score. These two facets of my life feed off of and nourish each other. I am happy to do both.

MC: How does one acquire the knowledge to score films?

JJ: You have to understand the film medium and have an instinct for what works: How music works in relation to the image and the story and how to support the story and find the sonic or musical identity for a film. That is learned by doing––you have to score a few films before you have a sense of it.

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MC: What about dealing with the politics of filmmakers, studios and executives?

JJ: Filmmaking is a collaborative medium.

Knowing how to work with people takes time to learn. And also not to lose your own vision for the music––and to keep your voice in this environment. There are a lot of people who are involved in the music decisions. To be able to navigate and to keep your voice is tricky.

Fascinating Rhythm: Antonio Sanchez

place. He walks to a stage door and they open it to the stage––what will you play?” I have been improvising all of my life, but I react to other musicians, this was very different, to try to play something to a specific image.

MC: You did demos first, scenes were matched to these, and then a final version was improvised. Was this the method?

AS: Yes. Alejandro grabbed those demos, and once the film was in a rough state he started splicing what I did and putting it into other parts of the movie. He used the demos during the shooting of the film. Then after he put my demos on the image I went back to L.A. I went back into the studio and did a bigger version, now improvising and looking at an image at the same time.

MC: Do drums and composition go together?

And might you have advice for our readers who are players?

AS: Drummers have always had this stigma that we’re not musicians. I think the newer generation of drummers is very well trained in music in general. And you need a fair amount of music education so that you can do things on demand. Let yourself be guided by feel. You’ll be cool no matter what.

Scores with Birdman

Contact Ray Costa, Costa Communications, 323-650-3588 There is already an Oscar buzz around Birdman starring Michael Keaton, who plays a washed-up superhero film star struggling to resurrect his acting career on Broadway. For the score, director Alejandro G. Iñárritu hired Antonio Sanchez, a composer who had never scored a motion picture before and is best known as a jazz drummer currently touring with Pat Metheny. As Sanchez explains, his score is made up entirely of drums.

MC: Has there ever been a major motion picture score done this way?

AS: I don’t think so. In the beginning I was terrified. It was completely new territory.

MC: We understand that Alejandro G. Iñárritu wanted dirty sounding drums. How did you achieve this timbre?

AS: Drums are an instrument that you can customize so much. It’s not like a piano. It depends on the type of wood in the kit. I changed the drumheads to Vintage Legacy made by Remo, the company I endorse. This made the drums sound more vintage. I could also tune and put some tape around them.

MC: Did you develop specific rhythms for each character?

AS: That was my first approach. Alejandro said that was exactly what he was not looking for.

We got together in the studio in New York after I read the script. He started telling me, “In this main scene the character is in his dressing room then he gets up and starts walking down a long hallway. His mind is simmering, all over the 44 November 2014

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MC: From obscure filmmakers to well known corporate clients, the outlets you discover are diverse, but the musical styles of your bands are identified with a certain street sensibility. What are your criteria in signing artists and bands who you would like to represent?

DW: I want to work with who I want––that means smaller bands. I feel there are more opportunities with smaller bands. I want to make this a collective. We want to educate people that making money in the industry isn’t about touring or living in a van. There are other outlets to making money in the industry. I just want to make these guys feel that there is hope.

MC: Licensing requires a depth of knowledge, understanding of copyrights, performing right organizations, how to negotiate sync fees and how music to ask for a license. How did you learn about the business?

DW: I graduated from the Music Business Program at Musicians Institute. I interned at a post-production company while attending MI. Without the educational background I wouldn’t be focused on what I am doing now. But it isn’t the education alone. You have got to want it and to make it your life.

I was working with a small label in Echo Park, and then I formulated Pizza Party Music.

Having more than one approach to helping artists and bands makes it all more versatile, and this allows me to balance a number of endeavors.

Pizza Party is fairly new. I set up meetings with music supervisors and I used my own connections to set up the necessary relationships.

MC: Do you have a day gig too?

DW: Yes. I work for an independent publishing company.

Delivering Hot Stuff: Pizza Party Music’s Derek War

MC: In a very short definition, what is music for picture and what is your role in connecting it?

DW: It’s all about feeling and emotion and passion. It’s not an easy gig, but it’s one of the best.

Contact Derek War, http://pizzapartymusic.com Edgy, eclectic and underground. Pizza Party Music places up-and-coming artists with specific visual media. The company’s founder, Los Angeles-based Derek War, wears a number of hats in his developing career: as an independent music supervisor for hire, as a promoter and as a champion of maintaining the integrity of the artists that he represents. Pizza Party Music is not limited to film and television: they have placed the band Wild Wild Wets in a promo piece for Quiksilver Snowboards and another

band Froth in a live runway fashion show for Saint Laurent Collection X. The company also does PR and booking for their artists.

MC: Stylistically, what are the specific needs that you fulfill for music requests?

DW: A lot of upbeat, driving indie-rock punk vibes for films. Not too many slow songs.

Shelter for the Sounds: Atrium Music: Contact: Josh Young, Atrium Music, http://atriummusic.com Pasadena, CA-based Atrium Music is a creative team spearheaded by co-founder Josh Young. As the lead supervising editor for major television shows like the Extreme Makeover: Home Edition, The Bachelor and Big Brother, Young’s expertise in episodic network TV became a springboard to the formation of a consortium of enterprises. Young describes Atrium as a music library, but with an onsite recording studio and a roster of custom music creators, it is much more.

MC: Your knowledge as an editor must be a huge asset when pitching projects.

JY: Yes. As an editor, when I get notes back

that the scene’s not working, it is because the music isn’t working. It is so important especially in reality television. You’re telling a story, and without the right music it isn’t going to work. You can’t force music into a picture or a film. If you have piece of music that takes your attention away, it’s not right. The music there to enhance the enjoyment––not stick out.

MC: What is Atrium’s strong suit?

JY: Quality not quantity separates us from the other libraries out there. And we call ourselves a library because that’s what the industry knows it to be. It’s kind of a dirty word because people might think it’s low quality. We are more of a collective of music of amazing artists from round the world. That takes longer to say.

MC: Do you observe that fees for licensing television music are reduced?

JY: Fees have gone down, especially for television. The market is saturated and shows are demanding the music for free. There are other companies undercutting everyone. It hurts. But it is still a big business, the major supervisors are licensing tracks for $50,000 - $150,000 per use for TV or film. I am talking about the well known tracks.

MC: Atrium Music is expanding?

JY: Yes, we have a new office in San Francisco and a new sales staff for Los Angeles and New York. We now have relationships with television in 24 countries. And we’ve begun licensing for Greek television and radio.

JY: When I went to school for music it was “mine, mine, mine.” People didn’t want to share.

When I started editing I found an internship where they were doing two shows, and I worked 60 hours a week for free. That’s how I learned. It blew my mind that you could lift someone up with real knowledge and experience. If someone is going to excel and go higher, that’s a great thing. I really care about people. I want to grow and affect the world in a positive manner.

movies. Early on I understood the importance of the music role in defining the mood and establishing the overall feel and emotional palette. I would analyze the music behind the films and games and understand the language, which helped me figured out to speak it on my own. It was a combination of practicing a ton and being super inspired and passionate with music for media. I went to a GDC (Game Developer Conference) in 2009 and it really introduced me to do music with games.

MC: How do you stay in the loop for projects and information?

KH: I always go to different forums and website and shows to learn as much about not only the music but the games and films, because as a composer its also nice to make the other guy’s job easier and it helps secures your gig if you can understand where they come from.

All In The Game: Kole Hicks Contact Kole Hicks via http://kolemusician.com

MC: In addition to indie songwriters and artists, does Atrium Music also work with composers?

JY: We have real film composers who write for us in their down time because they like us. We also reach out to them. We have composers doing games and commercials; we just placed music on a commercial for a squirt gun.

He relocated from Indiana to attend Musicians Institute in Hollywood as a guitarist, but today Kole Hicks is a rising composer and sound designer for videogames, currently providing all of the music and sound to the unique squad based strategy RPG, Kenshi, and the dark fantasy MOBA, Jeklynn Heights. In the recent past he has created all of the music and sound for Bag it! (a hit mobile game reaching No. 1 on the app store charts). And he still enjoys gigging with rock bands.

MC: What is the Atrium philosophy, and how does your personal philosophy influence this?

MC: Did you grow up playing video games?

KH: I loved playing video games and watching

MC: How important is networking?

KH: You have to meet as many people as you can to let them know what you’re doing.

I’ve been getting a lot of work recently from recommendations and referrals.

MC: You graduated from Musicians Institute. How helpful was that in your career?

KH: I am a strong believer that while you are studying you should be trying to get work going.

Take advantage of that time and meet as much people as you can so that you can get the work immediately after so you don’t have to work a part-time job because the music industry is so competitive.

MC: In listening to your music for Pixal Piracy, we can hear a number of interesting instruments, including the cello and pennywhistle. Do you have the budgets for live players?

KH: I love to use live musicians for recording.

Sometimes I will play a version of the music with samples, and then the same music with live instruments. It usually results in an increased budget for live players.

SpectreVision Music Management: Tim Husom As President of SpectreVision Music Management, Tim Husom believes that film fans and concert audiences alike are primed for a modern era of electronically infused classical music. The Music Management enterprise is a division of SpectreVision; the horror specific film venture founded by actor Elijah Wood and directors Daniel Noah and Josh C. Waller.

“We launched SpectreVision Music as an effort to bridge the gap between movies and the bold new sounds coming from the vanguard of neoclassical composers releasing records around the world,” explains Husom. SpectreVision’s roster features the genre’s leading creators, among them Jóhann Jóhannsson, Dustin O’Halloran, Hauschka, Kreng and A Winged Victory for the Sullen––distinguished composer-artists who, in addition to scoring films, also concertize, tour and record.

Following stints at Handsome Boy Records / Swell Management, Hudsom was with Emperor Norton Records where he shepherded projects including the Lost in Translation and The Virgin Suicides soundtracks. After a successful stint at Rykodisc (prior to its sale to Warner Bros.), Hudsom launched Redbird Management representing independent artists including Ladytron, Great Northern, Nicole Morier and Sea Wolf. “It was a shifting era, when people began getting their music for free,” he recalls.

Along with his client Dustin O’Halloran, Hudsom devised a new archetype: music for film coupled with a full spectrum of creative musical outlets. “We looked at Dustin’s model: he had released a solo piano record, recorded with his band, Devics, and would tour regularly.

He was also producing a record for an Italian band plus scoring music for advertising and music for films. So even though at the time income was down from sales, across the board he was really working. And it was fun.”

Husom says the company is gaining traction. “We believe that there will be more trust in the boardrooms, that it is okay to not go with the traditional scoring approach and to let the composer have his or her fingerprint on the score. Our goal is that over time the composer clients will bring quality music to pictures, and present different types of scores that will have international recognition. We have the chance to introduce a new breed of composer who will create a sea change in the way movies sound.”

Moving from the music business model into film music, Husom says that the economics are far different. “In the film world, people are willing to take big chances with certain parts of their budgets to make sure they get things right. In the music business if you’re not a huge pop star, you don’t have that option. For example, if you do a photo shoot they give you $500 and if the results are not good, you have to use it. In film, if they need you to go in and do another orchestral session they’ll come up with the budget. There is an attention to perfection that exists in the film business. As a DIY music guy it’s nice to be around a situation to make sure it’s done right and that there is that passion.”

Contact Tim Husom, SpectreVision Music Management, http://spectrevision.com/music_management

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– ANDY MESECHER

BMG Chrysalis Exec on How to Attract a Major Publisher

C

hoosing the right publisher for your creative works is no easy feat. Do you go with a successful independent company who can provide intimate service, or do you prefer a major publisher who possesses the ability to tap into any music market around the globe? And if you’re already in a publishing deal, are you sure it’s the right fit for you?

We sat down with David Hirshland who is the Executive VP, Client Services at BMG Chrysalis US to pick his brain about finding the right publisher, what BMG provides its current members and when to begin the publisher search.

Music Connection: What can BMG bring to the table for an up-and-coming artist?

lifeblood, and there is tremendous talent out there, but you have to be able to commit to someone that you’re going to be there in the long haul through thick and thin. If you’re not answering people’s phone calls and you don’t have time to deal with them, it’s not fair to bring them in.

MC: How can an artist get BMG’s attention?

Hirshland: Almost 99% of the time, we’re not going to approach, talk to or explore working with a songwriter who is not referred to us by someone we know and trust in the industry.

Your first real step, honestly, is to get that key attorney, manager, fellow artist to sponsor you in a way. If I hear from one of my writers, “Hey this kid is awesome, check him out!”—and it

Hirshland: BMG is a company that handles nearly two million copyrights at this point.

It’s not the size of the SONY EMI empire by any means, but it is still a lot of songs to take care of. If I am talking to a writer, [I’ll inform them] that there are good independent music publishing companies out there and it often does make more sense [to join them]. If it is someone that I think is mature, ready and would fit very nicely into our system then of course, I’m going to bring them on board.

BMG was designed to provide comprehensive support to songwriters and artists during any stage of their career.

MC: How does the company’s many offices play a role?

“Your first real step, honestly, is to get that key attorney, manager, fellow artist to sponsor you.” - David Hirshland David Hirshland: It boils down to two basic functions a publisher provides: Collection and exploitation. For up-and-coming artists/ writers who are working through this digital world and building a fan base through social media, there’s not a whole lot a publisher can do as far as collection. ... Therefore, a publisher is not really necessary except for the exploitation. The only area that BMG can really move the needle for an artist like that is synchronization. We look for a certain quality that a third party licensing community is looking for in synchs. If we hear something in the music that leads us to believe we’re going to have success there, then we would love to have a discussion about working together and moving forward. In addition, BMG provides a hands-on, partnership approach which is attractive to developing acts.

MC: Why is BMG selective in who it represents?

Hirshland: The problem is that everyone wants the same amount of attention—and they deserve it. Of course we need to continue to sign up-and-coming writers because it’s our

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happens all the time—that’s your best road in. If you’ve got enough going on, you’re at the stage where you’re building a following of people [then let’s work together]. Don’t forget, for us it’s not about “We’ve got this following and a great live show.” It’s really about the staying power of the song.

MC: Does BMG offer more than just distribution, i.e. songwriter sessions, camps, meet ups, etc.?

Hirshland: Absolutely, we arrange plenty of co-writing sessions for our roster and are always exploring new opportunities for them. We have an entire department that is constantly putting not just established writers but new writers together with some of our writers. [We’ll even send] writers to other publishers if we think it’s a good match. We have people here with great connections that are looking for the next artist who can contribute to that.

MC: Do major publishers like BMG have to handle the negative stereotypes that major labels deal with in today’s DIY market?

Hirshland: The beauty of this company is our global reach. We have a very strong international team who excel at collection— BMG has built an incredible system. Because of that you’re going to get the advantages you don’t get with independent or major publishers and if, on top of that, I think my creative team will spend the time needed to really absorb the catalog of somebody and pitch it to really exploit it, then I’m going to let them know and say, “This is the right place for you.”

MC: Any advice for songwriters?

Hirshland: Don’t write for the market. Write from your heart. Don’t write songs that you think people are going to like, or sounds like a certain artist so it will be a hit. Follow your heart and follow your muse. Write songs that mean something to you. Good songs are found. Good songs will come out. The only good songs are the ones that are genuine and the ones that come from that place within your creative spirit that needs to be nourished.

Contact Hirshland via http://bmgchrysalis.com

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– CHARLES MICHAEL AUSTIN, ED.D.

How to manage your time . . . and your money

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e’ve all squandered valuable time in our lives and careers, wishing we could go back and make the most of those hours, days and weeks. Likewise, on how many occasions have we squandered our money, spending without thinking of the big picture and the long haul? To help you avoid those regrets, music career expert Charles Michael Austin, Ed. D., Director of Career Development at Musicians Institute in Hollywood, has plenty of sage, sensible advice.

1. Managing Time and Managing Money Are the Same Thing They both involve prioritizing and managing scarce resources. Dealing with them is essential if you’re going to successfully handle the projects that will lead to the career success you’re after. Most of us spend our time and use (or misuse) our money largely because we’re unaware. It’s time to wake up—and stay awake.

2. Don’t Sin Against Your Talent Lenny Bruce was a groundbreaking standup comedian in the 1950s and ‘60s. He was also a heroin addict. When he OD’d at age 40, someone said Lenny “sinned against his talent.” You, too, were given a talent to share with the world. Your talent isn’t for you to waste; it’s something to always nurture so others can benefit from your creativity. Avoid anything that gets in the way of that. Behaviors like partying when you ought to be practicing, eating junk food when it’s cheaper (and healthier) to prepare your own, smoking cigarettes when you know they’re expensive and will shorten your life and affect your singing voice, are “sins against your talent.”

3. Start At The End When you have a goal, you can plan how you manage your time and spend your money to support it. What comes first is that which moves your career forward; anything else is secondary. Become a marketing machine, doing everything you can at all times to deliver your talent to the world.

4. Distinguish Needs from Wants When you get cold, your extremities feel it first—they’re protecting your vital organs. With your career goal in mind (say, writing and recording two songs), determine what you need to make that happen (scheduling writing sessions with a collaborator, booking studio time, buying a new amp, etc.) versus what you want ($150 concert tickets, buying $300 worth of drinks for your friends every Friday, sleeping instead of going to the gym, etc.). When you’re clear about your goals, you can decide whether something makes your money (or gives you time) or costs you money or time.

5. Get Your Priorities Straight Rock & roll culture encourages perpetual adolescence. You never have to grow up; life is a big party. People who’ve been in the business for a while, however, will tell you that you can’t build a sustainable career like that. What really matters to you? Why are you here? Is it to waste your talent—or grow and share it? You became a musician so other people could hear and appreciate your music. Since it has the potential to change lives, when are you going to stop ripping other people off?

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6. Set Manageable Milestones Rather than seeing your goal as a giant mountain you have to climb, think of it as a series of small hills. Break it down into steps with measurable deliverables and deadlines.

Here’s the process of writing and recording your two songs: write music to first song by Friday; finish lyrics by Monday; lay tracks to first song in two weeks; vocals recorded three days after that; mixing for six days after vocals recorded; track complete by the end of month. At each step you congratulate—and reward—yourself for accomplishing part of the project. Eventually, you finished the whole thing!

7. Increase Revenue and Cut Expenses This is the mantra for every business. All musicians are freelancers. Freelancing means you are your own business. This means you’ve got to follow a budget and look at it every month to see how you need to increase revenue—and where you’re wasting money. This needs to be a practice for as long as you keep working, no matter how much money you have.

8. Analyze How You Spend Your Time An excellent way to become aware of how you use—and waste—your time is to journal how you spend your time during the week, in half-hour increments.

As with money, first you become aware of your routine, and then make the adjustments.

Focus on spending your time (and money) to generate and maintain forward progress in your career. Once you’ve created your “time budget,” ask yourself if you’re being as efficient as possible. Do you need to hang out with your friends that much?

(Could you be practicing instead?)

Do you need to be on Netflix for so long? (Maybe you could write some songs instead?) I’m not advocating no fun; I’m saying some of it needs to be postponed while you work at creating and building your career.

9. Do As Little Work As Possible How efficiently can you accomplish what you need to do? It’s not about activity; it’s about accomplishment. It’s not how hard you worked; all that matters are the results you produced. Your challenge is always: produce the greatest amount of positive results with the least amount of effort.

10. Develop New Habits Becoming and staying conscious about how you handle time and money are probably not going to be fun. They’re just things adults just need to do to—the work that allows you to play. This is about being your own parent, the adult who has to say no (or not yet) occasionally, so the inner child can get to express itself when it’s appropriate.

CHARLES MICHAEL AUSTIN, ED.D. (“Dr. Chaz”) is Director of Career Development at Musicians Institute in Hollywood, CA (http://mi.edu). His new book, published by Cengage PTR, is 101 Ways to Find Work . . . and Keep Finding Work for the Rest of Your Career! Dr. Austin holds a Doctorate in Organizational Leadership from Pepperdine University.

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Magnolia Memoir Pale Fire

8

Maggie Bjorklund Shaken

9

Pale Fire Records Producer: Brandon Friesen

Bloodshot Records Producer: John Parish

Driven by the vision of graceful, cinematicvoiced Mela Lee and multi-faceted keyboardist Alexander Burke, this ever-evolving L.A. based ensemble draws equally from its quirky, soulful jazz roots and fascination for fiery alt-rock in creating their enigmatic but slyly infectious third indie album. Pale Fire rolls with dynamic switches from hushed darkness to explosive bright light (as on the piano pounding first single “Odds & Ends”). MM is about exploring that mysterious gray area between the two, with sparse and intimate first take tracks and richly textured rock jams. – Jonathan Widran

Danish pedal steel artiste Maggie Bjorkland puts together an A-list band for this masterpiece. Bassist Jim Barr (Portishead), drummer John Covertino (Calexico), guitarist John Parish (PJ Harvey collaborator) and cellist Barb Hunter (Afghan Wig) all provide a solid yet frequently ethereal blend to Bjorklund’s evocations of the American West. Songs of yearning and introspection are alternated with soundscapes evocative of the pastels of a desert sunset. Not really country but definitely western, her beautiful playing and singing make this one of the year’s best releases. – David Arnson

Eric Johnson & Mike Stern

Shuggie Otis

9

Live In Williamsburg

8

Cleopatra Records Producer: Shuggie Otis

Eclectic

Heads Up International Producer: Eric Johnson You’ve got two titans from the guitar world; Johnson is the Grammy-winning progressive rocker from Texas and Stern is the epitome of modern New York City jazz and cool. This, their first collaboration together, is a music aficionado’s wet dream. The album is an amalgam of the duo’s diverse playing styles and backgrounds. Right out of the gate solos are deftly exchanged on the funky “Roll With It.” Then they shift gears into the modal bop realm for the Coltrane-esque “Remember.” A scorching rendition of Hendrix’s “Red House” closes the album. Simply put, what’s not to like!? – Eric A. Harabadian

Risa Binder

8

Nashville

Seventies child prodigy Shuggie Otis has returned with a bang. Having re-released Inspiration Information and its companion Wings Of Love, Shuggie Otis Live In Williamsburg is the album fans have been waiting for. Recorded during the 2013 Never Ending World Domination Tour, the disc contains “Sparkle City,” “Island Letter” and “Strawberry Letter 23.” Playing with his brother and two sons, Otis gives a raw and impassioned performance with warts and all. Far from being a pitch perfect show, the band communicates Inspiration Information with humanity, soul and psychedelic musicality. – Oscar Jordan

PVRIS

White Noise

6

Warehouse Records Producer: Luke Wooten

Rise Records Producer: Blake Harnage

This is a strong cross-section of contemporary country that embraces traditional roots as well. A native of Maryland—by way of N.Y.C.—vocalist Risa Binder claims to be a city girl who has always had an affinity for rural life. She delivers in a big way here as a competent interpreter of song as well as a notable songwriter in her own right. In particular, the title track seems to depict her life story of trying to make it as an artist in Nashville. But, really, she nails the anticipation and raw emotion of anyone that has taken a risk in search of a dream. – Eric A. Harabadian

PVRIS are a young band well on their way to making a name for themselves, but still have room to grow. For a debut release, White Noise is a decent effort that maintains one’s interest, but won’t make listeners jump for joy. The album begins strong before slower songs drag down the emotional momentum—with the exception being the final track “Let Them In.” Another standout, “My House,” is reminiscent of Paramore. Lyndsey Gunnulfsen’s vocals are the highlight, showing an effortless range that can keep listeners enticed, but overall the record simply falls flat. – Siri Svay

Black Veil Brides

Joe Budden

IV

3

Some Love Lost

10

Universal Republic Producer: Bob Rock

eOne Music Producers: Karon Graham, DJ Pain 1, 8 Bars, The Breed

On this, the fourth studio album from rock quintet Black Veil Brides, the group’s ambition couldn’t be more clear. Unfortunately, they failed to deliver what could have been a stellar rock album, leaving a generic and bland release in its place. Musically, the album does have some shining moments— most notably the highlight of the album, “Devil in the Mirror”—but vocally it is weak and lacks any dynamics. Something that may have passed as an okay first release falls flat from this band that should undoubtedly be releasing work with a lot more risk, a lot more gusto and a lot more range. – Victoria Patneaude

Lyrically nice and sonically concise, Joe Budden is one of the few emcees who wears his heart on his sleeve, touching on personal issues which affect him daily. Budden, on part two of three in his Love Lost album series, details topics from family matters to relationship problems to recent run-ins with the law to unpaid child support to having suicidal tendencies, and more.

The cover of this album shows St. Michael, the Archangel, slaying Satan; in essence, Budden is defeating evil, while showing strength, hope and perseverance. This release sounds epic, from top to bottom, putting the listener in a focused, determined, reflective state of mind. – Adam Seyum

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

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Production Lyrics Music Vocals Musicianship

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Sammy Hakim

The Shack Band

Contact: sammyhakimmusic@gmail.com Web: sammyhakim.com Seeking: Film/TV, Label, Mgmt, Booking, Publishing Style: Pop, Country, Rock

Contact: sergeent@aol.com Web: theshackband.com Seeking: Booking, Film/TV Style: Jam Band

It’s refreshing to hear a voice with such an instinctive musicality. Hakim exudes a soulbearing Tayor Swift meets brooding Lorde essence on “Last Time,” a song about the regret at giving up heart, soul and body to the wrong guy. We dig the vocal harmonies on the ballad “Tuck Me In” and feel the simmering soul and guts she projects.

The singer’s best outing overall, where she trips all the right triggers, is the organic, full-band-sounding “Front Porch Kisses.”

As energetic as her hooks are, we suggest Hakim consider inserting a dynamic pause here or there and allow the listener’s ear a moment’s rest. Hakim backs up her modern country-pop with an attitude and intelligence that sets her apart.

We admire how this Richmond, VA quintet have a style that does not try hard to please, opting for tunes that allow each band member to excel. Is it rock, pop, jazz, jam, cabaret––what is it? Brandon Boyd meets Jamiroquai? It’s the sound of five guys making music with passion, something that always finds an audience. We can easily see this tight, smart unit opening for Dave Matthews Band or Phish, and snagging new fans in the process. The tunes we heard showcase lead singer Hunter Pease’s strengths as a storyteller, such as the funk-blues-pop tune “Tin Cup,” about a determined busker. No matter the song, the arrangements capture each instrument (guitar, B3, sax) in all its tactile glory.

Production Lyrics Music Vocals Musicianship

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The Southern Experience Band

Nickris Bros.

Contact: nickrisbros@gmail.com Web: facebook.com/nickrisbros2 Seeking: NA Style: Pop-Rock, Dance, EDM

Contact: hmph76@aol.com Web: southernexperienceband.com Seeking: Label, Booking, Film/TV, Radio Style: Country Rock, Southern Rock, Country

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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Strong group vocals, flashy guitar slingin’ and rockin’ tunes with lyrics that won’t make your grandma blush, this North Carolina outfit have a polished, homegrown product. Any of the tunes we heard could enhance an episode of modern-day western or send a theme-park crowd home with a smile. Mission statement “Southern Experience” and “Good To See You” both adhere to a strict formula of straightforward lyrics and pro level musicianship, especially the guitarist, who knows how to sculpt a solo.

Singer Scott Sanders’ crisp, clean tenor handles the rockers and the ballads (“Then There Was You”) with equal ease.

Production Lyrics Music Vocals Musicianship

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American-Chinese kids Nick & Kris Niepert have already gained traction in China, and their superslick demo package (put together with a platoon of producers) showcases the boys’ buoyant energy and a cuteness factor that shouldn’t be underestimated. The professional sheen of these tracks suggests adults in the room helping to craft material gauged to hook the ear and coat it with a sticky sugarglaze, closer to Kidsbop than Radio Disney. Songs like the dreamy and yearning “Airplanes,” the buoyant “Get Happy” and the sci-fi, edm-injected “Robot” are well-calibrated happy-meal desserts, but we wonder if these tracks might be too “Asian market” for U.S. tweeners.

Ensemble Mik Nawooj

DEF Davyne

Contact: nicole@ballinpr.com Web: ensemblemiknawooj.com Seeking: Label Style: Hip-Hop Orchestra

Contact: samuelbassey@msn.com Web: DEFDavyne.com Seeking: Booking, Film/TV, Collabs Style: Hip-Hop

Some wine & cheese with that hip-hop?

Here’s a composer who melds the street with the elite in classically fueled compositions. What could have resulted in an epic fail is instead compelling thanks to Nawooj’s skills. “First Song” establishes his formula––cascading piano, some tranquil flute and violin, a narrator, a rapper and a soaring operatic soprano. The rap sections, as on “We Will Conquer,” are higherconsciousness screeds. “Hope Springs Eternal” features a rocking beat and aspirational message. Ultimately, the piano prevails as the lead element. In Nawooj’s hands these elements enter and exit in deft transitions, combining into a critical mass that achieves an engrossing drama.

Northwest rapper makes the most of haunted, poignant piano tones in songs such as “Like Father, Like Son,” which hooks us with its epic, cinematic, R&B intro and an emotive flow that delineates his struggles.

“Flight School,” however, despite cool bass tones and atmospheric reverb, loses altitude due to the inconsistent energy of its vocals––the chorus vocals are particularly underwhelming. The soulful, elegaic “Better Days”(featuring the angelic vocals of Stefano Moses) could easily set the tone for a film’s funeral scene. All in all, Def Davyne has a strong, idealistic message and he and his collabs have moments that really shine.

He will, however, have to work harder to achieve overall consistency.

Production Lyrics Music Vocals Musicianship

8 7 8 8 8

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

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

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Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

7 7 8 8 9

8 7 7 9 7

7 7 7 7 8

V2

Grace Gravity

Contact: Anthony@RockStarUniversity.com Web: VSquared.rocks Seeking: TV Series Style: Rock

Contact: gracegravity@terihitt.com Web: gracegravity.com/music Seeking: Booking, Film/TV, Mgmt Style: Cosmic Pop Rock

As-yet-unmastered tracks produced by veteran studio wizard Ron Nevison capture a whirlwind of rock energy from twin siblings Vittorio (guitar) and Vincenzo (drums). Booming production makes it clear these kids aim for nothing less than an arena-sized career, and their material, though formulaic, is up to the task. “We Are V2” and “Long Live Rock” are showcases for not only the boys’ impressive musicianship, but a powerful vocal attack that packs a raw, Joan Jett style passion.

Their gem is “I Like Doing This The Best”; with its Who-influenced intro, its infectious chorus and its agile execution, the song (with the benefit of mastering) could be a real winner.

Artist Teri Hitt’s roots are showing––in a nice way. Steeped in classic ‘70s singer/ songwriter classics and confidently carrying the torch for higher-consciousness music, Hitt and her gifted backup players are an analog band in a digital world.

“Zero Hour” has a warm, organic glow and deep, resonant guitar tones that complement Hitt’s own note-perfect voice. The life-affirming “Do It Again” benefits from the rich, molasses tones of a cello––which makes her “Twitter” reference so jarring.

Hitt might want to avoid tech references that spoil the timeless vibe. “Time of the Turning,” with its terrific basslines and cosmic guitar drones, is the standout track on this evident labor of love project.

Production Lyrics Music Vocals Musicianship

8 7 7 8 9

Zana

Siren On The Moon

Contact: michelle@janeowenpr.com Web: zana19.com Seeking: Label, Booking, Film/TV, Distrib.

Style: Pop, World

Contact: band@sirenonthemoon.com Web: sirenonthemoon.com Seeking: Label, Booking, Film/TV Style: Modern Rock

Oakland, CA’s Zana describes herself as “gypsy pop,” but we don’t hear that on the tracks she’s offering. What we do hear is a 19-year-old singer who is maybe at a creative crossroads between dance-pop and heartfelt singer/songwriter. Her original, “Into My Bed,” is the former, a propulsive club number with a decent hook. But what really impresses us are the two covers she’s chosen to sing. Ingrid Michaelson’s flirty/catchy pop-rocker “The Way I Am” and Duffy’s bluesy-torchy “Syrup & Honey.”

Both outings allow Zana to show good range and vibrato, both of which contribute to a convincing sensuality. We advise this promising vocalist to team with a songsmith who can write to her strengths.

Specializing in brooding, churning, soulful rock, this quartet’s sturdy material such as “Hero” and “Auf Wedersehen,” while basic stuff, would get the job done for fans of the genre––if only the choruses provided a spike of energy that is somehow lacking in the recordings. Those misfires set us up for a pleasant surprise, however, with the song “Through The Fire,” where vocalist Peri Pastor, previously aiming for a dark, smoldering danger, softens up a bit on a tune whose overall design seems tailormade for a more commercial target. Not only does the song have better songcraft and an appealing, accessible glow, but the band delivers the chorus with a crucial burst of energy.

Production Lyrics Music Vocals Musicianship

7 7 7 8 7

Sons of the Golden West

Grown Up Avenger Stuff

Contact: sotgwband@gmail.com Web: sonsofthegoldenwest.com Seeking: Label, Film/TV Style: Americana, Indie, Singer/Songwriter

Contact: grownupavengerstuff@gmail.com Web: grownupavengerstuff.com Seeking: Film/TV, Booking, Development Style: Rock

Eric Butterfield leads this project with a diversity that has been uber-useful to Film/TV folks. Easy to imagine his song fragments enhancing any flick, but taken as complete compositions, it’s another story. His instrumental “When Lightning Strikes Twice,” while a twangy, western landscape type of tune, ultimately doesn’t deliver a strong enough hook to stand with the best instrumentals. The straightforward Americana song “Don’t Fall Too Far” has downhome elements (accordian, piano, harmonica), yet stays stuck in its rustic rut.

His best is “Heaven Here,” spurred by big (if noisy) rock-guitar energy and a nice vocal. Perhaps collaboration would help fully realize this artist’s songwriting potential.

Subpar production hurts this band, and it’s a shame because with some tweaks, they might really deliver. Frontwoman Dierdre Kroener’s sexy, coquettish vocals work well on the tune “Firecracker” (the quartet’s strongest outing) where she asks her mate to sack up and grow a pair. Songs such as “Too Cool” and “Cards,” however, demonstrate an ill-fitting clash between the band’s surly, downstroked guitar-rock and Kroener’s much less gritty delivery. In a live setting, this is likely not an issue. But for recording sessions we suggest she try to enlist a vocal coach, someone who can draw tenacious performances from her.

Perhaps the band’s own drummer could be that coach? Dude absolutely rocks!

Production Lyrics Music Vocals Musicianship

6 7 7 7 7

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

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

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Lizard Lounge

Cambridge, MA

Contact: danzedek@gmail.com, jcanderman@gmail.com Web: http://fielddaymusic.bandcamp.com The Players: Dan Zedek, guitar, vocals; Joan Anderman, guitar, vocals; John Kehe, drums, vocals; Phil Magnifico, bass, vocals.

Material: Like a cross between the melancholy Southern rock of CSNY with the tragic rebelliousness of mid-‘90s / early millennium pop rock, the incongruously named Field Day conjures visions of honeyed horizons and warm baths rather than children joyously frolicking amidst sunflower fields. Casual rhythms frame exquisite harmonies punctuated by quotidian guitar bridges that electrify one’s soul like mana from Heaven.

Performance: Attended by a respectful crowd, the set was intently absorbed as the group demonstrated their artistry in dignified fashion.

While the band’s aural makeup first strikes one as exhilarating, their songs eventually devolve into seeming predictability, dangerously

Bowery Electric

????????

FIELD DAY

risking a fall into boredom. Besides the tunes themselves, the quartet doesn’t offer much by way of excitement, declining to attract listeners with the flashy substance embraced by some of their younger peers. They similarly lack any branding, declining to mention their name until after they’d played their final note.

Summary: Although their sound is as refreshing as a gulp of strawberry lemonade while being caressed by a breeze on a

APPLE KAUFMANN

Musicianship: The key to unlocking Field Day’s sound is absorbing the elegantly refined nature of their compositions, often marked by hypnotically repetitive lyrics and always by delicately rehearsed unity. Vocals are this band’s focal point and greatest asset, exuding an unvarnished beauty that gently massages the listener’s raw nerves. Instead of overcompensating with showy technique, lead guitarist Dan Zedek displays notes so simple yet perfectly placed it’s as if they plopped out of a mold provided directly from the mind of Plato.

mountain peak, Field Day’s style never evolves, instead settling into a groove that appears content to lie still. One can’t discount the soft glow of love behind the band’s earnest demeanor, particularly when bolstered by such positive juju, yet it doesn’t seem they’re actively working to reach the next level. Diversifying their catalog and amplifying an effort toward connecting with new audiences would serve them well.

– Andy Kaufmann

New York, NY

Material: After an 18-year hiatus, Walter Salsas-Humara has returned with his third effort, Curve and Shake. Best known as frontman of the Silos—who were once named best new American band by Rolling Stone’s critics in the late ‘80s. SalsasHumara’s style organically blends rock, alternative rock and country into a cohesive unit while making it entirely his own. Splitting the performance between songs from the new release and some mainstays (where he was joined by the Silos), Salas-Humara manages to cycle through a good crosssection of material.

Second up in the set is the title track, a candid look at chancing a relationship 30 years in the making, poignantly stated in the song’s chorus: “I’m taking this gift, taking this gamble.

Riding the chair lift up the steepest angle.” In “Satellite,” a straight-ahead and infectious rock song, the chorus is in the form of a call and response with the tag line “like a satellite” sung and echoed with backup vocals.

Musicianship: His voice is Dylan-esque, dancing slightly around the pitch, not due to 54 November 2014

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WALTER SALAS-HUMARA tuning difficulties but as more of a stylistic choice. He has a raspy quality that is vulnerable and piercing at the same time— call it a tender grittiness if you will. He plays proficient and energized guitar, leaning into chords to get the most out of them.

Performance: A mix of fans and stragglers left over from the previous show made up the audience and to his credit, Salas-Humara managed to reel in the latter pretty quickly and soon had the room’s undivided attention.

His delivery was direct, sincere and devoid

MARK SHIWOLICH

Contact: monica@thinkpress.net Web: http://waltersalashumara.com The Players: Walter Salas-Humara, vocals, guitar; guest artists, the Silos: Rod Hohl, guitar, backup vocals; Bruce Martin, keyboards, latin percussion, backup vocals; Pete Galub, bass; Russ Meissner, drums; Jason Victor, guitar.

of pretention, which was his ace in the hole.

He didn’t have much between-song banter and often it’s the artists with the most to say musically that you long to know more about.

Summary: Walter Salas-Humara is a seasoned performer and a consistent and dependable songwriter. More interaction with his audience would be icing on an already tasty cake, however; despite his deceptively laid-back persona, he delivers a solid performance with striking imagery and strong musical choices. – Ellen Woloshin

and on record, is “Moon.” It has a bluegrass feel befitting a band from the South, with a dangerous city edge that truly embodies the band’s feel and energy. The recorded version boasts brass instruments, something that is lacking in the live performance, but it is still the group’s best effort either way.

Musicianship: Posner has a very earthy tone to her voice. While she does occasionally reach to hit a higher note —like, maybe once in the whole set—it isn’t enough to detract from the rest of her performance. She also adds a bit more grit to her voice live that is missing from the recorded versions and give the songs and extra edge. The Myth are the perfect fit for their energetic leader, matching her performance and even shining with their own solo moments.

ABBY & THE MYTH Room 5 Lounge Los Angeles, CA

Contact: abbyposner@gmail.com Web: http://abbyposner.com The Players: Abby Posner, vocals, banjo, acoustic guitar; Donovon Bullen, standup bass; Cara Batema, accordian; Kristen Gleeson-Prata, drums.

Material: Abby Posner, accompanied with her backing band the Myth, has a bluegrass sound

Room 5 Lounge

that many current indie/folk artists would love to emulate. The set opener, “Darkest Winter” is a banjo laden romp that hits the ground running. “Ghosts and Frames,” the title track from the band’s upcoming album, is a plucky jaunt about unrequited love that shows off gang vocals and the Myth beautifully. The slower mid-set track, “Around,” shows another side of Poner, proving that she can not osnly pen a great uptempo track, but one befitting a slow dance as well. Her standout track, both live

Performance: Abby & the Myth put on a high octane performance that lit the small venue on fire. At one point, the tables were shaking with how vigorously the audience was getting into the performance. With such a high energy and just enough of a spin on the tracks to make them sound brand new, it’s easy to say that this band is one that actually sounds better live than on album. (A pretty big feat given how good they do sound recorded.) They all truly feel what they’re playing and, as an audience member, it was a complete joy to witness.

Summary: Abby & the Myth are the kind of band that music fans always hope to stumble upon at a bar, but seldom ever do. With a presence big enough to fill an arena, it is hopefully just a matter of time before they get there. – Victoria Patneaude

Los Angeles, CA

Material: Naama Kates is self-described as alternative pop and indie jazz. Several of her songs, like “Wait until Bright” and “Hurricane,” seem to fall in the new age and electronica category, reminiscent of some of the more romantic songs by Radiohead. Then there are songs like the punkier “Windows,” which has something of a Frank Zappa “Valley Girl” spirit with cheeky lyrics: “God this place is funny/And it’s spiritually poor/Skies are always sunny/And the girls are always whores.”

Although not indicative of the band’s overall sound, the song is a fun break in the set. The piano numbers by Kates often feature minor tones on songs like “The Unexamined Life.”

However, “Happy Homes” has a Natalie Cole “This Will Be (An Everlasting Love)” feel.

Musicianship: Liebig introduces both beautiful six string bass melodies and spunky rhythms. Almeida seems to limit himself to high-hat work with sparse cymbal for perfect dreamy transitions and moody fadeouts. Overall the MPC beats overwhelm the presence of the drums, but on the song “Chime” Melchor incorporates a cool melodica-like effect that adds to the mood and proves to be an essential riff. Melchor’s finest

BRIAN CUOJOE TOLBERT

Contact: lynn@greengalactic.com Web: http://naamakates.com The Players: Naama Kates, vocals, piano; Cyrus Melchor, MPC, guitar; Steuart Liebig, bass; Emiliano Almeida, drums.

NAAMA KATES contribution is his sweet Johnny Marr style guitar tone.

breathy vocals that have a bit of a Chrissie Hynde sustain.

Performance: The band began the show late due to a variety of mishaps, from tripping over cables to adaptor issues. With apologies for flubs and a hot mix, they recovered as the set progressed.

Throughout the evening, Kates switched between playing piano and performing vocals only. Her presentation, with distinct dance moves, bordered on farcical but proved to be consistent. This style is a perfect fit for “Windows” where Kates chooses an almost baby talk delivery. She can just as easily change up the mood of her music with

Summary: An arresting songwriter, Naama Kates’ lyrics are a standout, demonstrating an uncommon ability to craft strong visuals.

“Waves” conjures up romantic imagery of graveyards, vampires and necromancers with an equally haunting final verse: “Just give us a chance to see if we can stand cold Balkan winter graves/Some rad Crimean raves/500 years of waves.” The music for the song has an Eastern Europe flair as does the title track of Kates’ latest album Souled. Kates is an artist whose material is diverse and original.

– Brooke Trout November 2014

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Hotel Cafe

Hollywood, CA

Musicianship: Whether standing directly on top of the mic or 10 feet away, Halbor’s vocals are crystal clear and released with ease.

Even with his heavy harmonica playing, he is always in control. Rudy’s energy flies though his hands as he vigorously manipulates his lap steel. The same energy transfers over, as he dresses his mandolin with heavy reverb, filling every pocket of dead space. Sorensen’s timing is impeccable on the drums, colored with free flowing flare and charisma. Sidwell kills his bass solos with fingers so fast it’s hard to tell if they are even moving.

Performance: Despite the venue’s headcount diminishing to bare bones after the previous act, Dragondeer performed with the energy

Loaded

ALLEGRA AZZOPARDI

Contact: eric@dragondeer.com Web: http://dragondeer.com The Players: Eric Halborg, vocals, guitar, harmonica; Cole Rudy, lap steel, mandolin; Carl Sorensen, drums; Casey Sidwell, bass.

Material: Putting a modern twist on an oldschool genre, Dragondeer’s combination of psych-rock and southern blues is not an attempt to mimic the past. Instead, this band make its mark with reverb soaked lap steels, mandolins and hearty vocals, combining the present and the past in a good way. It’s like stepping into a time machine set to the ‘60s, but taking what’s cool today along for the ride.

DRAGONDEER

of playing to a full house. In their defense, it was after 11 on a Tuesday evening. Put these boys in a bar setting on a Saturday night and they would surely pack the place to capacity. They slipped into moments that were a little jam-bandy, dragging out solos to the point of almost too long, but it was hard not to be drawn in by each individual talent. Even as they trailed off into their improvisational wonderland, the band kept perfectly in sync with one another. They kept their set list at

six songs and closed out the evening with an impressive cover of “Gimme Some Lovin’.”

Summary: Performing in Los Angeles for the first time was no sweat for Dragondeer. These players are confident in themselves and their material, which sets a solid foundation for a promising future. With a little more exposure outside their home base of Colorado, these boys will be ready to hit the national tour scene. – Allegra Azzopardi

Hollywood, CA

Material: An veritable orchestra of dynamic percussion, haunting piano riffs and echoing guitar noises coalesce in ILYA’s songs. The band’s catalog is highlighted by soaring, operatic vocal tones that illuminate the darkness. “Another Day,” the band’s most successfully composed track, accelerates with an assertive beat and is calmed by its delayed guitar riff and melodic vocals. “Machine” and “Baalbec” show promise, but the rest of the material often melds together. Intros and bridges become repetitive while vocal melodies run too similar a path. More diverse and upbeat songwriting would allow songs like “Storm” to stand out.

Musicianship: Fowler belts her enchanting, low-end vocals with confidence, but becomes whiny and unsure in the higher register. Hill hammers the skins with force and drives the material, only occasionally pushing the tempo.

Mattos gels with Hill and strides all over his bass when necessary. Additionally, Fowler and Mattos play syncopated rhythms to accent the beats. Feller and Baker complement each other and have gentle fingers on the keys. Their playing adds a delicate beauty to contrast Atuña’s distorted, sludgy riffs.

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ILYA

Performance: ILYA trudged through a dark set of swaying originals for an intimate audience.

The band filled up the small venue with powerful riffs and cascading vocals. “Gomez,” the romantic, instrumental opener prepped the audience for what was to ensue.The band switched gears with the upbeat “Baalbec,” which broke the slow pace. The hollow beat and vocal breakdown preceded a thrashing, catchy chorus, but the whiny vocals undermined the gritty integrity. Extra percussion on some of the songs was unnecessary and overpowered the melodic piano riffs.

As the band merged into the latter half of the set, the choruses strengthened and intensified.

As “Another Day” faded away, the grizzly,

VINCENT STEVENS

Contact: geoff@bajabound.com Web: http://ilyamusic.bandcamp.com The Players: John Mattos, bass, percussion; Geoff Hill, drums, percussion; Blanca Rojas Fowler, vocals, percussion; Carrie Gillespie Feller, vocals, piano, rhodes, synth; Demetrius Atuña, vocals, guitar; Matthew Baker, vocals, piano, Rhodes, synth, guitar.

disturbed minor chord riff of “Storm” intruded.

With a dirty bass lick, this song grinded gears in the best possible way before sensually fading out. While Fowler’s vocals were controlled, the lyrics often trailed off.

The finale of “Isola” diverted from the slower tempos with a solid 16th note groove and fuzzy bass line, providing a sturdy foundation for the keys and swaying vocal melody. The keys sliced the delayed guitar until the fadeout.

Summary: ILYA’s material shows promise, but at this point too many of the songs fail to stand out, instead blurring into redundancy. More songs like “Another Day” will help the band draw a bigger following. – Vincent Stevens

Los Globos Los Angeles, CA

Material: With chemistry reminiscent of Tha Dogg Pound and rapid-fire verbal ability like their Midwestern neighbors Bone Thugs-NHarmony, Ces Cru is a duo loaded with talent.

These Kansas City chiefs deliver music that embodies a fresh combination of funk, rock and, of course, hip-hop. With “Sound Bite” and “Pressure,” Godemis and Ubiquitous make it clear they are hungry emcees, lyrically ready to take on whoever, whatever and whenever.

“Hope” is a bit mellower, as is “Double OT”; but whether fast or slow, Ces Cru’s flows are thought-provoking and compelling.

Musicianship: Godemis and Ubiquitous are in unison on every beat. Their punchlines, metaphors and topics comprise a unique blend of realism and sci-fi, thus confirming why TechN9ne signed these two in the first place. Artistic with a touch of comedic nobility, Ces Cru’s tonality is unmatched as they verbally swim within the rhythm of their music. “Give It To Me” demands phenomenal breath control by Ubiquitous, while “Every Weapon” expresses Godemis’ ability to hold his own in a solo effort.

Generating a sound that is gritty, witty and swift, with incredible hooks like a southpaw,

CES CRU

this dynamic duo show they can stand out among millions of emcees.

Performance: At this show, Ces Cru naturally fed off each other’s energy on stage. Never stepping on toes, both members knew how to let the other shine when it was his turn to spit.

Together, their stage presence mesmerized and was nothing short of inspiring. An added touch was the dark, colored lights and theatrical smoke that accompanied specific songs, adding the right atmosphere, emphasis and mood.

DANIEL SEYUM

Contact: lisa@juggernautsound.com Web: http://cescru.com The Players: Donnie “Godemis” King, emcee; Mike “Ubiquitous” Viglione, emcee.

Summary: Ces Cru is quickly becoming a favorite in the underground scene. They understand their audience and realize that their music will forever be Strange. While commercialism is unimportant to these artists, they are nonetheless becoming massively known. Thriving on unadulterated lyricism, which is the essence of hip-hop, Ces Cru are leaders in the struggle to keep underground hip-hop alive and well. – Adam Seyum

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/.

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Annual Directory of Music Publishers The major and indie publishers in this MC directory promote, exploit and collect payments for their writers’ music.

All info is updated for 2014 with info supplied by the listees. Please respect those who do not accept unsolicited material.

ABET MUSIC 411 E. Huntington Dr., Ste. 107-372 Arcadia, CA 91006 866-574-0275 Web: www.abetmusic.com Styles: easy listening, chill, rock, world music, alternative How to Submit: e-mail with a link to music/web AIR DELUXE MUSIC GROUP 23 Music Sq. E., Ste. 301 Nashville, TN 37203 615-726-1204 E-mail: bob@airdeluxemusic.com Web: www.airdeluxemusic.com Contact: Robert W. Berg Styles: country, pop & blues How to Submit: no unsolicited material ALFRED PUBLISHING P.O. Box 10003 Van Nuys, CA 91410-0003 800-292-6122, 818-892-2452, +1 818-891-6122 E-mail: customerservice@alfred.com Web: www.alfred.com How to Submit: no unsolicited material ALVA MUSIC PUBLISHING Golden Boy Records P.O. Box T / 16311 Askin Dr. Pine Mountain Club, CA 93222 661-242-0125 Fax 661-242-8334 E-mail: gbrmusic@frazmtn.com Contact: Eddie Gurren Styles: R&B, country How to Submit: unsolicited material accepted ANOTHER VICTORY, INC. 346 N. Justine St., 5th Fl. Chicago, IL 60607 312-666-8661 Fax 312-666-8665 Web: www.victoryrecords.com, www.anothervictory.com How to Submit: no unsolicited material AVATAR PUBLISHING GROUP, LLC 2029 Hyperion Ave. Los Angeles, CA 90027 323-906-1500 E-mail: lynnette@avatarmarketing.com Web: www.avatarrecords.com, www.avatardigi.com Styles: R&B, hip-hop, rap, pop, Latin, electronica How to Submit: unsolicited materials accepted via US mail or electronically (MySpace) A WRITER’S PARADISE Nashville, TN 615-852-8297 E-mail: sales@awritersparadise.com Web: www.awritersparadise.com Contact: Stacy Hogan How to Submit: no unsolicited material BAG-O-CATS MUSIC P.O. Box 563 Sparrowbush, NY 12780 845-856-8985 E-mail: kats@bagocats.com Web: www.bagocats.com Styles: singer-songwriter How to Submit: no unsolicited material BAYLIGHT PUBLISHING MUSIC, MEDIA, & ART 602-616-7584 Contact: Mary Godfrey, Music Coordinator How to Submit: see web prior to mailing BEST BUILT SONGS 1317 16th Ave. S. Nashville, TN 37212 615-385-4466 E-mail: larry@bestbuiltsongs.com Web: www.bestbuiltsongs.com Contact: Larry Sheridan How to Submit: no unsolicited material BICYCLE MUSIC COMPANY, THE 8447 Wilshire Blvd., Ste. 400 Beverly Hills, CA 90211 310-286-6600 Fax 310-286-6622 E-mail: Jake@bicyclemusic.com Web: www.bicyclemusic.com

Contact: Jake Wisely How to Submit: no unsolicited material Additional location:

BRENTWOOD BENSON Nashville, TN 37067 800-846-7664 ext. 1 Web: www.brentwoodbenson.com Styles: CCM, Gospel How to Submit: no unsolicited material

28 W. 44th St., Ste. 810 New York, NY 10036 212-488-1714 E-mail: roger@bicyclemusic.com Web: www.bicyclemusic.com Contact: Roger Miller How to Submit: no unsolicited material

BUCKHORN POB 120547 Nashville, TN 37212-2105 615-327-4590 Fax 615-327-4639 Web: www.buckhornmusic.com E-mail: jwilkin@mac.com Styles: Country, Gospel How to Submit: no unsolicited material

BIG EARS MUSIC Oh Boy Records 33 Music Sq. W., Ste. 102B Nashville, TN 37203 800-521-2112 Fax 615-742-1360 E-mail: jon@ohboy.com Web: www.ohboy.com Published: see web How to Submit: no unsolicited material BIG FISH MUSIC (BMI) CALIFORNIA SUN MUSIC (ASCAP) 12720 Burbank Blvd., Unit 124 Valley Village, CA 91607-1421 818-508-9777 E-mail: clisag21@yahoo.com Web: facebook.com/bigfishmusicbuilding Contact: Chuck Tennin, Lora Sprague Styles: country, pop, ballads, up-tempo, adult contemporary, gospel, Film/TV, orchestral, classical, instrumentals, rock, new age, jazz, blues, alternative How to Submit: Write first or E-mail us to obtain permission and our submission policy.

Please do not call.

BILLY BLOCK MUSIC P.O. Box 128105 Nashville, TN 37212 615-665-8772 E-mail: billy@billyblock.com Web: www.billyblock.com Contact: Billy Block How to Submit: no unsolicited material

6100 Wilshire Blvd., Ste. 1600 Los Angeles, CA 90048 E-mail: info.us@bmgchrysalis.com 323-969-0988 29 Music Sq. E. Nashville, TN 37203 615-329-0999 E-mail: info.us@bmgchrysalis.com BMG Rights Mgmt GMBH SpreePalais Anna-Louisa-Karsch-Str.2 10178 Berlin, Germany +49-(30) 300-133-300 E-Mail: info@bmg.com

BLUEWATER MUSIC SERVICES CORP. 705 2nd Ave., S. Nashville, TN 372120 615-327-0808 Contact: Randy Patton, Mgr, Licensing & Admin.

E-mail: randy@bluewatermusic.com Web: www.bluewatermusic.com Published: see web How to Submit: no unsolicited material

BMG Chrysalis UK 33 Wigmore Street London, W1U 1QX +44 203 214 1200 E-mail: info.uk@bmgchrysalis.com

BOK MUSIC 4027 Towhee Dr. Calabasas, CA 91302-3630 818-222-1727 E-mail: submissions@bokmusic.com Web: www.bokmusic.com Contact: Monica Benson Styles: all styles How to Submit: No phone calls. Unsolicited material accepted. Include lyrics. See website for guidelines BOOSEY & HAWKES, INC. 229 W. 28th St, 11th Fl. New York, NY 10001 212-358-5300 E-mail: composers.us@boosey.com Web: www.boosey.com How to Submit: no unsolicited material BOURNE CO. MUSIC PUBLISHERS 5 W. 37th St. New York, NY 10018 212-391-4300 Fax 212-391-4306 E-mail: bourne@bournemusic.com Web: www.bournemusic.com Styles: entire music spectrum Published: Nat King Cole, Nas, the Rat Pack,

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BMG CHRYSALIS BMG Chrysalis US 1745 Broadway, 19t Fl New York, NY 10019 E-mail: Info.us@bmgchrysalis.com 212-561-3000 Web: www.bmgchrysalis.com Styles: all styles Published: T-Bone Burnett, Snow Patrol, Ryan Adams, Wilco, Nick Cave & the Bad Seeds, Los Lobos, Iggy Pop, Pete Townshend, Spoon, the Guess Who, Talib Kweli, Calexico, Thievery Corporation, Corinne Bailey Rae, Jamie Foxx, M. Ward, Tegan and Sara, Sean Garrett, the Faint, Kings of Leon, Craig David, of Montreal, Lady Sovereign, John Prine, Ani DiFranco, Fischerspooner, the Estates of Willie Dixon, Muddy Waters, Stevie Ray Vaughan, Johnny Cash, Fred Ahlert, Del Shannon, Townes Van Zandt, Gram Parsons, Woody Guthrie, Badfinger How to Submit: no unsolicited material Additional locations:

BLIND PIG RECORDS P.O. Box 2344 San Francisco, CA 94126 415-550-6484 E-mail: orders@blindpigrecords.com Web: www.blindpigrecords.com Styles: Blues How to Submit: No unsolicited material

C O M P I L E D 58 November 2014

Crazy Frog, Al Jolson, Rod Stewart, Barbra Streisand How to Submit: No unsolicited material

B Y

BUZZART ENTERPRISES, INC. 611 1/2 Ocean Park Blvd.

Santa Monica, CA 90405 310-392-3088 E-mail: info@buzzartinc.com Web: http://www.buzzartinc.com Contact: Arthur Berggren Styles: Rock How to Submit: no unsolicited material CAL IV ENTERTAINMENT 808 19th Ave. S. Nashville, TN 27203 615-321-2700 Web: www.cal4.com Contact: Billy Lynn, VP Creative Styles: Country, pop, rock How to Submit: no unsolicited material CARAT RECORDS P.O. Box 12746 Lahaina, HI 96761 808-214-6910 E-mail: mail@lo-boy.com Web: www.caratrecords.com, www.abbeystjohn.com Contact: Alvin “Abbey” Brazley Styles: pop, prog, rock, metal, R&B, hip-hop,

D E N I S E

C O S O

folk, punk, classical, Hawaiian How to Submit: Accepts unsolicited material.

Call or e-mail first. Also does artist development & runs studio and label.

CAPITOL MANAGEMENT GROUP 330 Franklin Rd. Brentwood, TN 37027-3282 800-767-4984, 615-321-0600 Fax 615-321-0182 E-mail: robertmetzgar@aol.com Web: www.musicpublishernashville.com How to Submit: no unsolicited material CASE ENTERTAINMENT/NEW PANTS PUBLISHING/OLD PANTS PUBLISHING 102 E. Pikes Peak, Ste. 200 Colorado Springs, CO 80903 719-632-0227 Fax 719-634-2274 E-mail: rac@crlr.net Web: www.oldpants.com, www.newpants.com Contact: Robert Case How to Submit: unsolicited material accepted.

Call before sending demos.

CENTURY MEDIA FAMILY 2323 W. El Segundo Blvd.

Hawthorne, CA 90250 323-418-1400 E-mail: mail@centurymedia.com Web: www.centurymedia.com Notes: see website for submission CHANDOS MUSIC (Also Hillgreen Music, Tortoise Music, Terrapin Publishing, Folklore Music) P.O. Box 7003 Santa Monica, CA 90406 310-451-0767 Fax 310-664-0767 E-mail: info@FLiArtist.com Web: www.folkloreproductions.com Styles: roots, folk How to Submit: no unsolicited material; industry inquiries only.

CHRISTMAS & HOLIDAY MUSIC 26642 Via Noveno Mission Viejo, CA 92691 949-859-1615 E-mail: justinwilde@christmassongs.com Web: www.christmassongs.com Contact: Justin Wilde Styles: Christmas, Hanukkah, Halloween and other holiday music only.

How to Submit: unsolicited material accepted.

No MP3s. No phone calls. Check website for most current mailing address and submission guidelines before sending.

CHRYSALIS MUSIC GROUP See BMG CHRYSALIS COMPLETE MUSIC USA Lipservices Music Publishing 9 Prospect Park W., Ste. 14B Brooklyn, NY 11215 718-638-2815 E-mail: julie@lipservices.com Contact: Julie Lipsius How to Submit: no unsolicited material COPPERFIELD MUSIC 1400 South St. Nashville, TN 37212 615-726-3100 Fax 615-726-3172 E-mail: ken@copperfieldmusic.com Web: www.copperfieldmusic.com How to Submit: no unsolicited material CORNELIUS COMPANY, THE Gateway Entertainment 9 Music Square S., Ste. 92 Nashville, TN 37203 615-256-9253 E-mail: terry@gatewayentertainment.com Web: www.corneliuscompanies.com, www. gatewayentertainment.com Styles: country, rock, alt., folk How to Submit: Please send us a demo with lyric sheets and let us know what you would like to see from your career. We listen to every song that comes across our desks. We offer individual, personal catalog representation for outside writers and publishers, full Film/TV placement for songwriters and publishers with

Download at www.musicconnection.com/industry-contacts master quality demos. Songs needing master quality demos--No problem!

CRUTCHFIELD MUSIC GROUP 1106 17th Ave. S. Nashville, TN 37212 615-321-5558 E-mail: jcrutch@crutchfieldmusic.com Styles: country, pop How to Submit: contact before sending materials CUPIT MUSIC P.O. Box 121904 Nashville, TN 37212 Attn: Artist/Writer Submission 615-731-0100 E-mail: dan@cupitmusic.com Web: www.cupitmusic.com Styles: country, country Christian, gospel How to Submit: see website for guidelines CURB GROUP, THE 48 Music Sq. E. Nashville, TN 37203 615-321-9532 Web: www.curb.com How to Submit: no unsolicited material DELICIOUS VINYL 6607 W. Sunset Blvd.

Los Angeles, CA 90028 323-465-2700 Fax 323-465-8926 E-mail: contact@deliciousvinyl.com Web: www.deliciousvinyl.com Contact: Rick Ross Styles: hip-hop, reggae, rock DEL ORO MUSIC PUBLISHING 10700 Ventura Blvd., Ste. H Studio City, CA 91604 818-308-6829 E-mail: bud@deloromusic.com Web: www.deloromusic.com Contact: Bud Anderson Styles: pop, R&B, dance, rock, Latin, reggae, gospel, jazz, world Published: David Longoria, CeCe Peniston, Juliet B. Rock, Eric Gold, Darren Sanner, 2 Much Caffeine, April Diamond, Bino, David Keough, Gerina DiMarco, 5 Star How to Submit: contact our office and request to submit your materials.

DE WALDEN MUSIC GROUP 530 S. Lake Ave, #318 Pasadena, CA 91101 626 460 8923 E-mail: zigwal@pacbell.net Web: dewaldenmusic.com Contact: Christian de Walden Styles: pop rock, Latin pop, Eurodance How to Submit: call before submitting material DIMENSIONS GATE (BMI) Cleopatra Records 11041 Santa Monica Blvd., Ste. 703 Los Angeles, CA 90025 310-477-4000 Web: www.cleopatrarecords.com Contact: Brian Perera Published: Cleopatra Records artists only How to Submit: no unsolicited material DISNEY MUSIC PUBLISHING 500 S Buena Vista St. Burbank, CA 91521-6434 818-569-3241 Fax 818-845-9705 Styles: pop How to Submit: no unsolicited material DON WILLIAMS MUSIC GROUP, INC. 9425 Santa Ana Rd. Ventura, CA 93001 805-649-8790 Fax 805-649-7207 E-mail: info@dwmg.com Web: www.dwmg.com How to Submit: no unsolicited material DRAKE MUSIC GROUP 1300 Division St., Ste. 301 Nashville, TN 37203 615-297-4345 Web: www.petedrakemusic.com How to Submit: no unsolicited material EARWIG MUSIC COMPANY, INC. 2054 W. Farwell Ave., Garden Unit Chicago, IL 60645-4963 773-262-0278 Fax 773-262-0285 E-mail: mfrank@earwigmusic.com Web: www.earwigmusic.com Contact: Michael Frank or Rita Warder How to Submit: no unsolicited material ECS PUBLISHING 1727 Larkin Williams Rd. Fenton, MO63026-2024 800-647-2117, 636-305-0100

E-mail: office@ecspub.com Web: www.ecspub.com How to Submit: no unsolicited material EJ GURREN MUSIC P.O. Box T / 16311 Askin Dr. Pine Mountain Club, CA 93222 661-242-0125 Fax 661-242-8334 E-mail: gbrmusic@frazmtn.com Contact: Eddie Gurren Styles: R&B, hip-hop, gospel, country How to Submit: unsolicited material accepted EMI CMG MUSIC P.O. Box 5085 Brentwood, TN 37024 615-371-4400 Styles: CCM. Worship, Gospel E-mail: licensing@emicmgpublishing.com Web: www.emicmgpublishing.com How to Submit: no unsolicited material EMI MUSIC PUBLISHING 10635 Santa Monica Bvd., Ste. 300 Los Angeles, CA 90025 310-441-1300 Web: www.emimusicpub.com Styles: rock, pop, hip-hop Published: the Neptunes, Usher, Kanye West, Ying Yang Twins, Damon Thomas & J-Kwon, Soulshock & Karlin, Alicia Keys, Enrique Iglesias, Jermaine Dupri, Jay-Z, Cathy Dennis, Rodney Jerkins, Jimmy Jam & Terry Lewis, Carole Bayer Sager, Alan Jackson, Michael Bolton, Sean “P. Diddy” Combs, Nirvana, Dallas Austin, Darryl Worley, etc.

How to Submit: no unsolicited material Additional locations: 550 Madison Ave., 5th Fl. New York, NY 10022 212-833-7730 How to Submit: no unsolicited material 8 Music Square W. Nashville, TN 37203 615-726-8300 Styles: Country How to Submit: no unsolicited material 1111 Lincoln Rd., Ste. 803 Miami Beach, FL 33139 305-532-3361 How to Submit: no unsolicited material ESPY MUSIC GROUP/ BOB-A-LEW MUSIC P.O. Box 869 Cedar Creek, TX 78612 512-308-1593 Fax 512 308-0920 E-mail: info@espymusic.com Web: www.espymusic.com Contact: Ronda Espy, Kim Espy Styles: pop, country, blues, alternative How to Submit: no unsolicited material ESTEFAN MUSIC PUBLISHING (ASCAP) FOREIGN IMPORTED PRODUCTION AND PUBLISHING (BMI) 420 Jefferson Ave. Miami Beach, FL 33139 305-534-4330 Contact: Barbara Bera Styles: all styles How to Submit: no unsolicited material FIRSTCOM MUSIC 2110 Colorado Ave. Ste. 110 Santa Monica, CA 90404 800-778-1574 L.A. Local: 310-865-4477 E-mail: info@firstcom.com Web: www.firstcom.com How to Submit: Call before submitting material Additional location: 1325 Capital Parkway, Ste. 109 Carrollton, TX 75006 800-858-8880 Local: 972-446-8742 FITZGERALD HARTLEY CO. 34 N. Palm St., Ste. 100 Ventura, CA 93001 805-641-6441 Contact: Michelle McKee Styles: Country How to Submit: no unsolicited material Additional location: 1908 Wedgewood Ave. Nashville, TN 37212 615-332-9493 FORSTER MUSIC PUBLISHER 5309 W. Devon Ave. Chicago, IL 60646 312-427-2713 E-mail: info@forstermusicpublisher.com

Web: forstermusicpublisher.com Styles: all styles Contact: Marco Pisani How to Submit: call before sending material FOUR JAYS MUSIC 443 S. San Pedro St., Ste. 304 Los Angeles, CA 90013 213-236-9222 E-mail: info@fourjaysmusic.com Web: www.harrywarrenmusic.com Styles: standards, film music all styles (except country 1926-1960) How to Submit: no unsolicited material FOX MUSIC PUBLISHING 10201 W. Pico Blvd.

Los Angeles, CA 90035 310-369-2541 Fax 310-969-1359 Web: www.foxmusic.com Styles: all styles How to Submit: no unsolicited material FRETBOARD PUBLISHING Sound Control Studio 1008 17th Ave. S. (Inside the Bayou Building) Nashville, TN 37212 615-292-2047 E-mail: soundcontrol@aol.com Web: www.soundcontrolstudio.com Contact: Mark and Donna Moseley How to Submit: no unsolicited material FUNZALO PUBLISHING P.O. Box 35880 Tucson, AZ 85740 520-628-8655 E-mail: dan@mikesmanagement.com Web: www.funzalorecords.com Contact: Dan Agnew Styles: all styles How to Submit: accepts unsolicited material, prefers CDs GAMBLE-HUFF MUSIC Philadelphia International Music 309 S Broad St. Philadelphia, PA 19107 215-985-0900 x 200 E-mail: chuckgamble@gamble-huffmusic.com Web: www.gamble-huffmusic.com Contact: Chuck Gamble Styles: R&B, jazz, soul How to Submit: no unsolicited material GENE AUTRY MUSIC GROUP, THE (Golden West Melodies, Gene Autry’s Western Music Publishing, Ridgeway Music, Melody Ranch Music and the Gene Autry Music Company) 4383 Colfax Ave. Studio City, CA 91604 818-752-7770 Web: www.geneautry.com Published: Vintage music catalog GENERATION MUSIC, INC./ WORDS WEST LLC 661 N. Harper Ave., Ste. 205 Los Angeles, CA 90048 323-966-4433 Fax 323-653-5111 E-mail: tony@wordswest.com, helen.mallory@ wordswest.com Contact: Tony Gimbel, Managing Member Words West LLC/ Tony Gimbel, President Generation Music, Inc.; Helen Mallory, Music Licensing Styles: all styles How to Submit: no unsolicited material GOODNIGHT KISS MUSIC / SCENE STEALER MUSIC 10153 1/2 Riverside Dr., Ste. 239 Toluca Lake, CA 91602 808-331-0707 Web: www.goodnightkiss.com E-mail: janet@goodnightkiss.com Contact: Janet Fisher Styles: all styles, especially master-quality hip tracks for film/TV Published: 80 songs currently in film, ads and shows How to Submit: online newsletter updates requests monthly; subscribe at our website GUITAR SOLO PUBLICATIONS (GSP) 230 Townsend St. San Francisco, CA 91407-1720 415-896-1922 E-mail: gsp@gspguitar.com Web: www.gspguitar.com Contact: Dean Kamei Styles: Guitar music, primarily classical and Brazilian How to Submit: No unsolicited material HACATE ENTERTAINMENT GROUP 245 Eighth Ave., Ste. 869 New York, NY 10011

212-586-4229 E-mail: info@hacate.com Web: www.hacate.com How to Submit: call or e-mail first, accepts fully produced CDs only HAL BERNARD ENTERPRISES 2612 Erie Ave. Cincinnati, OH 45208 513-871-1500 E-mail: shertzman@cinci.rr.com Contact: Stan Hertzman Styles: Contemporary and Americana How to Submit: contact before submitting materials, prefers online-based media HAL LEONARD CORP. P.O. Box 13819 Milwaukee, WI 53213 414-774-3630 Fax 414-774-3259 Web: www.halleonard.com Contact: Nancy Ubick How to Submit: no unsolicited material HARLAN HOWARD SONGS, INC. 1902 Wedgewood Ave. Nashville, TN 37212 615-321-9098 Web: www.fb.com/pages/harlan-howard-songsinc/176476319084204 Styles: country, R&B, pop How to Submit: no unsolicited material HARMONIOUS MUSIC 11054 Ventura Blvd., Ste. 333 Studio City, CA 91604 818-505-9537 E-mail: jay@2activate.com Contact: Jay Warsinske Styles: rock, urban, pop, club & children’s How to Submit: unsolicited material accepted HARMONY ARTISTS 6399 Wilshire Blvd., Ste. 914 Los Angeles, CA 90048 323-655-5007 Fax 323-655-5154 E-mail: contact_us@harmonyartists.com Web: harmonyartists.com Contact: Jerry Ross, Mike Dixon Styles: all How to Submit: no unsolicited material HELENE BLUE MUSIC 570 Seventh Ave., Ste. 2100 New York, NY 10018 212-724-5900 Fax 212-564-3113 E-mail: info@helenebluemusic.com Web: www.helenebluemusic.com Contact: Brian Kaplan, Creative Dir. Styles: blues, jazz, movie songs, R&B, theater music, indie, rock, pop, hip-hop, world How to Submit: no unsolicited material HOLOWORLD PUBLISHING 700 W. Pete Rose Way, Lobby B, Ste. 390 Cincinnati, OH 45203 513-442-3886 E-mail: info@holographicrecords.com Web: www.holographicrecords.com Contact: Richard Waring Styles: prog, Americana, folk, rock How to Submit: publishes only artists under management or signed to record label HORIPRO ENTERTAINMENT 818 18th Ave. S. Nashville, TN 37203 615-255-9837 Web: www.horipro.com Contact: Butch Baker Styles: all styles How to Submit: no unsolicited material Additional location: Los Angeles, CA 2372 Veteran Ave. 310-470-6005 E-mail: la@horipro.com INTENSE MUSIC COMPANY 19360 Rinaldi St., Ste. 217 Porter Ranch, CA 91326 818-700-9655 E-mail: sr@intensemusic.com Web: www.intensemusic.com Contact: Sylvester Rivers How to Submit: no unsolicited material INTERNATIONAL MUSIC COMPANY 5 W. 37th St., 6th Fl. New York, NY 10018 212-391-4200 E-mail: info@internationalmusicco.com Web: www.internationalmusicco.com Contact: Marco Berrocal Styles: publishes classical sheet music How to Submit: no unsolicited material

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Annual Directory of U.S. Music Publishers JAMBO PRODUCTIONS / RHYTHM ADDICTION / SURROUND SOUND SONGS 22647 Ventura Blvd., Ste. 251 Woodland Hills, CA 91364 818-227-9669 Fax 818-227-9569 E-mail: jambomail@aol.com Web: michaeljaymusic.com, myspace.com/ michaeljaysongs Contact: Michael Jay Styles: all styles How to Submit: no unsolicited material KEATON MUSIC VENTURES P.O. Box 121396 Nashville, TN 37212 615-341-0177 E-mail: chris@chriskeatonproductions.com Web: www.chriskeaton.com Styles: Country, AAA, Pop How to Submit: e-mail for permission before submitting material LAKE TRANSFER MUSIC 11300 Hartland St. N. Hollywood, CA 91605 818-508-7158 E-mail: info@laketransfer.com Web: www.laketransfer.com Contact: Tina Antoine Styles: alt. rock, hip-hop, Latin-pop How to Submit: unsolicited material accepted LANSDOWNE, WINSTON, BLOOR & HOFFMAN HOUSE MUSIC PUBLISHERS (LWBH) ASCAP/BMI P.O. Box 1415 Burbank, CA 91507-1415 818-748-0001 Fax 818-748-0003 E-mail: info@lwbhmusicpublishers.com Web: www.lwbhmusicpublishers.com Contact: Lynne Robin Green, President Styles: all styles, except for hard rock/heavy metal. No middle of the road (MOR) pop or old-fashioned C&W songs. For film & TV submissions, musician/vocal pre-cleared masters only: enclose credits of artist as applicable.

How to Submit: We are NOT accepting any new material LEIBER & STOLLER PUBLISHING P.O. Box 11267 Marina del Rey, CA 90295 310-273-6401 E-mail: peter.stoller@leiberstoller.com Web: leiberstoller.com LOVECAT MUSIC P.O. Box 548, Ansonia Station New York, NY 10023-0548 E-mail: license@lovecatmusic.com Web: www.lovecatmusic.com Styles: all styles How to Submit: e-mail to submit MAGNA CARTA RECORDS A1 Country Club Rd. East Rochester, NY 14445 585-381-5224 E-mail: info@magnacarta.com Web: www.magnacarta.net Contact: Dan Hanley Styles: prog How to Submit: see website for Demo Submissions MAJOR BOB 1111 17th Ave. S. Nashville, TN 37212 615-329-4150 Web: www.majorbob.com Styles: country How to Submit: no unsolicited material MAKIN’ MUSIC 1222 16th Ave. S., Ste. 11 Nashville, TN 37212 615-320-1117 E-mail: makin@mindspring.com Web: www.makinmusiconline.com Contact: Chris Dodson Styles: country How to Submit: no unsolicited material MAYFLOWER MUSIC 1951 N. Wilmot Rd., Bldg. 2, Unit 7 Tucson, AZ 85751 520-326-4400 E-mail: celestial@harmonies.com Web: www.harmonies.com Contact: Julian Parnaby Styles: all styles How to Submit: No unsolicited material MILES COPELAND GROUP 7647 Hayvenhurst Ave., Ste. 47 Van Nuys, CA 91406 818-778-6510 E-mail: info@milescopeland.net

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Web: www.copelandinternationalarts.com How to Submit: no unsolicited material MORAINE MUSIC 500 E. Iris Dr. Nashville, TN 37204 615-383-0400 E-mail: info@morainemusic.com Web: www.morainemusic.com Contact: Dianna Maher Styles: country, rock, blues, Americana How to Submit: no unsolicited material MORGAN MUSIC GROUP 1800 Grand Ave. Nashville, TN 37212 615-321-9029 E-mail: songmerch@aol.com Web: www.dennismorgansongwriter.com Contact: Dennis Morgan Styles: pop, country, rock How to Submit: no unsolicited material MOUNTAIN APPLE COMPANY, THE 1330 Ala Moana Blvd., Ste. 1 Honolulu, HI 96814 808-597-1888 Fax 808-597-1151 Web: www.mountainapplecompany.com Styles: Various types of Hawaiian and Polynesian music.

How to Submit: no unsolicited material MPL MUSIC PUBLISHING 41 W. 54th St. New York, NY 10019 212-246-5881 Fax 212-246-7852 E-mail: contact@mplcommunications.com Web: www.mplcommunications.com Styles: all styles How to Submit: no unsolicited material MURRAY MUSIC GROUP/BUG MUSIC/ WINDSWEPT PO Box 983 Goodlettsville, TN 37070 E-mail: contact@murraymusicgroup.com Web: www.murraymusicgroup.com Styles: country, rock, pop, R&B, Latin, hip-hop How to Submit: contact us before sending materials MUSCLE SHOALS RECORDS / FAME MUSIC GROUP 603 E Avalon Ave. P.O.Box 2527 Muscle Shoals, AL 35662 256-381-0801 E-mail: info@fame2.com Web: www.fame2.com Styles: country, R&B, soul How to Submit: accepts unsolicited material, see web for details MUSIC ROOM PUBLISHING GROUP, THE (ASCAP) / MRP MUSIC (BMI) 525 S. Francisca Ave. Redondo Beach, CA 90277 310-316-4551 E-mail: mrp@aol.com Web: www.musicroomonline.com, www.musicroom.us, www.hollywood2you.tv Contact: John Reed Styles: rock, pop, film music How to Submit: no unsolicited material MUSIC SALES CORPORATION 180 Madison Ave. New York, NY 10016 212-254-2100 E-mail: tomas.wise@musicsales.com Web: www.musicsalesfilmtv.com Styles: all styles How to Submit: accepts unsolicited material via mail Additional location: 1247 6th St. Santa Monica, CA 90401 310-393-9900 Fax 310-393-9925 NEW HEIGHTS ENTERTAINMENT New York City E-mail: info@newheightsent.com Web: www.newheightsent.com Styles: all styles How to Submit: no unsolicited material NEW WEST MUSIC Nashville, TN E-mail: bob@bobbullock.net Web: www.bobbullock.net Contact: Steven Myers Styles: country, pop How to Submit: no unsolicited material NORTH STAR MEDIA 3765 Wade St. Los Angeles, CA 90066 818-766-2100 Fax 818-766-2105

E-mail: info@northstarmedia.com Web: www.northstarmedia.com Contact: John A. Sepetys, Sr. Dr. A&R How to Submit: unsolicited material accepted Additional location: 40900 Woodward Ave., Ste. 350 Bloomfield Hills, MI 48304 886-642-1991, 818-766-2100 ONLY NEW AGE MUSC (BMI) / LUCID DREAMS (ASCAP) 8033 Sunset Blvd., Ste. 472 Los Angeles, CA 90046 323-851-3355 E-mail: info@newagemusic.com Web: www.newagemusic.com Contact: Suzanne Doucet Styles: new age How to Submit: no unsolicited material PEERMUSIC 901 W. Alameda Ave., Ste. 108 Burbank, CA 91506 818-480-7000 Web: www.peermusic.com Styles: all styles Published: see web How to Submit: no unsolicited material Additional location: 2397 Shattuck Ave. - Ste. 202 Berkeley, CA 94704 510-848-7337 PEN MUSIC GROUP, INC. 12456 Ventura Blvd. - Ste 3 Studio City, CA 91604-2484 818-766-9200 E-mail: michael@penmusic.com, richard@penmusic.com Web: www.penmusic.com Contact: Michael Eames, President How to Submit: no unsolicited material PPL MUSIC PUBLISHING GROUP, THE 468 N. Camden Dr., Ste. 200 Beverly Hills, CA 90210 310-860-7499, 818-506-8533 E-mail: pplzmi@aol.com Web: www.pplzmi.com Contact: Cheyenne Phoenix Styles: all styles How to Submit: write for permission, no phone calls PRIMARY WAVE MUSIC PUBLISHING 116 E. 16th St., 9th Fl. New York, NY 10003 212-661-6990 Fax 212-661-8890 E-mail: info@primarywavemusic.com Web: www.primarywavemusic.com Styles: rock, pop Additional location: 9165 Sunset Blvd., Ste. 200 Los Angeles, CA 90069 310-247-8630 Fax 310-247-8629 PRISM ESCAPE MUSIC Penny Lane Bldg.

215 E. 24th St., Ste. 221 New York, NY 10010 212-686-0902 E-mail: prismescape@gagorder.com Web: www.gagorder.com Contact: George A. Gesner Styles: rock, pop, R&B, world, semi-classical, new age, alt. country, folk How to Submit: accepts unsolicited material, no rap, metal, avant-garde or cabaret QUINCY JONES MUSIC PUBLISHING 6671 Sunset Blvd., Ste. 1574A Los Angeles, CA 90028 323-957-6601 Fax 323-962-5231 E-mail: info@quincyjonesmusic.com Web: www.quincyjonesmusic.com Styles: pop, jazz, funk, R&B How to Submit: no unsolicited material RADAR MUSIC PUBLISHING 2600 W. Olive, 5th Fl. Burbank, CA 91505 818-333-5304 E-mail: info@radarmusic.com Web: www.radarmusic.com Additional location: 25852 McBean Pkwy #865 Valencia, CA 91355 661-255-9494 RAINEYVILLE MUSIC 315 S. Beverly Dr., Ste. 300 Beverly Hills, CA 90212 310-277-4050 Fax 310-557-8421

E-mail: rrmgmt@aol.com Web: www.raineyville.com, www.ronrainey.com Contact: Ron Rainey Styles: all styles How to Submit: no unsolicited material RBC MUSIC P.O. Box 29128 San Antonio, TX 78229 800-548-0917, 210-736-6902 E-mail: sales@rbcmusic.com Web: www.rbcmusic.com Styles: concert band, marching band, orchestra, choral, piano How to Submit: no unsolicited material REAL CURES MUSIC 11900 Metric Blvd. #J-195 Austin, TX 78758 512-532-6157 E-mail: realcures@yahoo.com Web: www.realcures.net Contact: David Lear Styles: Americana, indie rock, alt. country, rockabilly, acoustic, folk How to Submit: unsolicited materials accepted via U.S. mail REAL LIFE MUSIC PUBLISHING 5801 Tee Pee Trace Nashville, TN 37013 615-554-6693 E-mail: dave@davetough.com Web: www.davetough.com Styles: pop, hip-hop, country, roots-rock Published: Matt Heinecke, Siop, Toni Arthur, Cindy Alter, Come & Go. Also operate publishing demo studios in Nashville and L.A. REALSONGS 323-462-1709 E-mail: jhorton@realsongs.com Web: www.realsongs.com Styles: pop, R&B, rock, country How to Submit: no unsolicited material, publishes Diane Warren exclusively and does not sign outside songwriters.

RECORD RAMA P.O. BOX 15413 Pittsburgh, PA 15237 412-367-7330 Web: www.recordrama.com Contact: Paul Mawhinnie Styles: all styles How to Submit: no unsolicited material RED RIVER SONGS (BMI) 225 Vaughns Gap Rd. Nashville, TN 37205 615-915-2922 E-mail: robertweedman@comcast.net Web: www.johnnybondpub.com Styles: country How to Submit: please contact first ROBBINS ENTERTAINMENT 35 Worth St., 4th Fl. New York, NY 10013 212-675-4321 E-mail: info@robbinsent.com Web: www.robbinsent.com Styles: Dance How to Submit: accepts unsolicited material, see “demos” section on web for full details RONDOR MUSIC INT’L, INC. See Universal Music Publishing Group 2100 Colorado Ave. Santa Monica, CA 90404 310-235-4700 Styles: all styles Published: The Beach Boys, Al Green, Otis Redding, Peter Frampton, Isaac Hayes, Supertramp, Will Jennings, Garbage, Jurassic 5, Shep Crawford and Steven Van Zandt How to Submit: no unsolicited material ROUND HILL MUSIC 1004 18th Ave. S. Nashville, TN 37212 615-292-5100 Web: www.roundhillmusic.com How to Submit: no unsolicited material Additional locations 400 Madison Ave., 18th St. New York, NY 10017 212-380-0080 1233 Wilshire Blvd., Ste. 112 Santa Monica, CA 90403 212-380-0080 ROYALTY NETWORK, INC., THE 224 W. 30th St., Ste. 1007

Download at www.musicconnection.com/industry-contacts

“How I Got My Music Licensed 1,205 Times” Barry French – TAXI Member – BigBlueBarry.com

I

took some time off from music, then my grandfather passed away and I re-evaluated what I was doing with my life. I felt the “call” of music, so I started writing again, decided to get serious about my music career, and joined TAXI in 2008.

Honestly, I Was Skeptical at First…

I did some research. I lurked on TAXI’s Forums, and found that TAXI’s successful members were real people just like me. Though I’d co-written with an Indie artist, and charted at #15 on the Radio & Records Christian Rock charts, I was clueless how to even get a film or TV placement— a complete newbie!

But TAXI’s Industry Listings gave me goals to shoot for and helped me stay on task. I became more productive and motivated to get things done because I didn't want to feel like I "missed out" on an opportunity.

How to Build The Right Catalog

If you want to create music for art’s sake, then by all means, go ahead and do that. But, if you want to have a music career, why not use TAXI to learn how build the right catalog full of music the industry actually needs?

Expand Your Possibilities…

TAXI can help you learn to write for genres you never thought you could do. I used to do mostly Hard Rock and Metal. Because of TAXI, I branched out into other genres— first Pop/Punk, and then Tension and "Dramedy" cues. I used the feedback from TAXI’s A&R staff to improve my work. In many cases, my tracks improved to the point that they got signed and ultimately placed in TV shows!

350 Placements in the Last Year!

The first placement I ever had resulted from meeting a Music Library owner at the Road Rally— TAXI’s free convention. In a little more than 3 years, my music has been licensed more than 1000 times, with nearly 350 placements in the past year alone!

A “Lucky Duck?”

My 1,000th placement was a Southern Rock track on A&E's hit show, Duck Dynasty. A TAXI connection resulted in me becoming a "go to" composer for a company that provides music directly to that series. How cool is that?!

TAXI’s Listings, community, convention, and networking opportunities have helped my career immensely. The ONLY regret I have about joining TAXI is that I didn't sign up sooner! If you’re willing to invest in yourself, call TAXI and let them help you too.

The World’s Leading Independent A&R Company

1-800-458-2111 • TAXI.com

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Annual Directory of U.S. Music Publishers New York, NY 10001 212-967-4300 E-mail: kathy@roynet.com Web: www.roynet.com Styles: all styles Published: M.O.P., Kelly Price, Dead Prez, Muggs (Cypress Hill), VHS or Beta How to Submit: please contact prior to submitting Additional location: 12650 Riverside Dr. - Ste. 203 Valley Village, CA 91607 818-762-0775 E-mail: michele@roynet.com Contact: Michele Ito RUMBLEFISH 107 SE Washington St., Ste 700 Portland, OR 97214 800-293-9102, 503-248-0706 E-mail: info@rumblefish.com Web: www.rumblefish.com Contact: Whitney Jones Styles: all styles How to Submit: accepts unsolicited material.

See musiclicensingstore.com for submissions RYAN’S SONGS (ASCAP) / VAN GOGH’S EAR MUSIC (BMI) 18653 Ventura Blvd., Ste. 513 Tarzana, CA 91356 818-702-9902 Fax 818-702-9948 Contact: Tom Hayden Styles: all styles How to Submit: No unsolicited material RYMATICA ENTERTAINMENT P.O. Box 640337 Miami, FL 33164 786-354-1770 E-mail: richardJohn@rymatica.com Web: www.rymatica.com Contact: Richard John Current Affiliate: ASCAP SCHOTT MUSIC CORP. & EUROPEAN AMERICAN MUSIC DIST. 254 W 31st. St., 15th Fl. New York, NY 10001 212-461-6940 E-mail: info@eamdc.com Web: www.eamdllc.com Contact: Norman Ryan Styles: classical, pop How to Submit: No unsolicited material SECOND FLOOR MUSIC 130 W 28th St., 2nd Fl. New York, NY 10001 212-741-1175 E-mail: orders@jazzleadsheets.com Web: www.secondfloormusic.com, www.jazzleadsheets.com Styles: Jazz How to Submit: Call or e-mail first SEPTEMBER MUSIC 810 7th Ave., #36 New York, NY 10019 212-581-1338 E-mail: septembermusic@verizon.net Contact: Stanley Mills Styles: standards, novelties How to Submit: no unsolicited material SHAPIRO, BERNSTEIN & CO. 488 Madison Ave., 12th Fl.

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New York, NY 10022-5718 212-588-0878 Fax 212-588-0620 Web: www.shapirobernstein.com Styles: all styles How to Submit: no unsolicited material SHELLY BAY MUSIC 423 Mountainview Rd. Englewood, NJ 07631 201-227-6126 E-mail: michelle@shellybay.com Web: www.shellybay.com Contact: Michelle Bayer Styles: pop, rock, Americana, hip-hop How to Submit: no unsolicited material SILVER BLUE MUSIC / OCEANS BLUE MUSIC 3940 Laurel Canyon Blvd., Ste. 441 Studio City, CA 91604 818-980-9588 E-mail: jdiamond20@aol.com Web: www.joeldiamond.com Contact: Joel Diamond Styles: pop, R&B How to Submit: unsolicited material accepted, does not return materials SIMPLY GRAND MUSIC, INC P.O. Box 770208 Memphis, TN 38177-0208 901-763-4787 Email: info@simplygrandmusic.com Web: www.simplygrandmusic.com Styles: all genres welcome Published: Elvis Presley, Jerry Lee Lewis, Etta James, Leela James, George Jackson, The Ovations, Barbara & the Browns How to Submit: limit 3 songs per submission.

2-4 weeks for a response. Include Lyrics and a SASE if you want any material returned.

Additional location: 1507 16th Ave. S. Nashville, TN 37212 615-515-7772 SONG GARDEN MUSIC GROUP 1441 Fentress Rd. 336-668-0193 E-mail: david@songgardenmusicgroup.com Web: www.songgardenmusicgroup.com Styles: all styles of country SONGS FOR THE PLANET P.O. Box 40251 Nashville, TN 37204 615-269-8682 E-mail: songclearance@songsfortheplanet. com Web: www.songsfortheplanet.com Styles: rock & roll, reggae, R&B, alt.

How to Submit: see web for submissions guidelines SONGS PUBLISHING 307 7th Ave., Ste. 2104 New York, NY 10001 212-255-6800 Fax 212-255-6878 E-mail: info@songspub.com Web: www.songspub.com Contact: Ron Perry, Sr. Creative - A&R

SONY/ATV MUSIC PUBLISHING 10635 Santa Monica Blvd., Ste. 300 Los Angeles, CA 90025 310-441-1300 E-mail: info@sonyatv.com Web: www.sonyatv.com Contact: Wendy Crowley, VP, Television and Film Styles: pop, R&B, rock, dance Published: Steve Dorff, Bjork, Puff Johnson, Crystal Waters, Marvin Hamlisch, etc.

How to Submit: no unsolicited material Additional locations: 550 Madison Ave., 5th Fl. New York, NY 10022 212-833-7730 8 Music Sq. W. Nashville, TN 37203 615-726-8300 Fax 615-726-8329 Contact: Marc Wood, Sr. Directory, Marketing/Advertising 1111 Lincoln Rd. - Ste. 803 Miami Beach, FL 33139 305-532-3361 Fax 305-532-9467 Contact: Amy Roland SOUND IMAGE MUSIC 15462 Cabrito Rd. Van Nuys, CA 91405 818-231-5728 E-mail: sound_image@msn.com Web: www.soundimage.us Contact: Melody Carpenter Styles: all styles How to Submit: no unsolicited material SOUND OASIS PRODUCTIONS, LLC 1251 W. Sepulveda Blvd., Ste. 107 Torrance, CA 90502 310-544-9464 Fax 310-544-7765 E-mail: soundoasis@cox.net Contact: Valerie Jones Styles: all styles How to Submit: no unsolicited material SPIRIT MUSIC GROUP 235 W. 23rd St.. 4th FL New York, NY 10011 212-533-7672 Fax 212-979-8566 E-mail: info@spiritmusicgroup.com Web: www.spiritmusicgroup.com Styles: all styles How to Submit: no unsolicited material SPRUILL HOUSE MUSIC PUBLISHING P.O. Box 92832 Pasadena, CA 91109-2751 626-797-2429 E-mail: spruilhous@aol.com Web: www.spruillhousemusic.com Contact: Stephanie Spruill How to Submit: no unsolicited material

Additional location:

STAGE 3 MUSIC 5759 Wallis Ln. Woodland Hills, CA 91367 818-704-8657 Fax 818-704-8671 E-mail: info@stage3music.com Web: www.stage3music.com Styles: all How to Submit: no unsolicited material

7656 Sunset Blvd.

Los Angeles, CA 90046 323-939-3511 Fax 310-872-5027

SUPREME ENTERPRISES INTL. CORP. /FUERTE SUERTE MUSIC P.O. Box 1373

Agoura Hills, CA 91376 818-707-3481 E-mail: seicorp@earthlink.net Web: www.raggaforce.com, www.fuertesuertemusic.com Styles: Latin pop, trance, dance, Spanish/ English reggae How to Submit: unsolicited material accepted, no phone calls, include e-mail for response, material must be copyrighted SYMBIOTIC MUSIC PUBLISHING P.O. Box 88456 Los Angeles, CA 90009 424-274-1034 E-mail: jerjan@symbioticmusicpublishing.com Web: www.symbioticmusicpublishing.com Contact: Jerjan Alim, Creative Director A&R Styles: All Services: Music Publishing, Music Library How to Submit: accepts unsolicited material, see website for details TELE-CINEMA 2 Topside Ln. Newtown, CT 06470-2023 203-426-3350 Styles: all styles How to Submit: call before sending material TEN TEN MUSIC GROUP 33 Music Sq. W., Ste. 110 Nashville, TN 37203 615-255-9955 E-mail: music@tentenmusic.com Web: www.tentenmusic.com Styles: Country How to Submit: no unsolicited material TRANSITION MUSIC CORP. P.O. Box 2586 Toluca Lake, CA 91610 323-860-7074 Fax 323-860-7986 E-mail: submissions@transitionmusic.com, licensing@transitionmusic.com Web: www.transitionmusic.com Contact: New Submissions Dept.

Published: 1000’s of titles How to Submit: unsolicited material accepted.

Online only. See website TRINITY MUSIC 4042 N. Pulaski Rd. Chicago, IL 60641 773-282-4800 E-mail: trinitymus@aol.com Web: www.jbm1.com Contact: Dougie Thomson Styles: Pop, Rock How to Submit: contact before sending material.

UNIVERSAL MUSIC PUBLISHING GROUP (UMPG) 2100 Colorado Ave. Santa Monica, CA 90404 310-235-4700 Fax 310-235-4900 Web: www.umusicpub.com Published: 3 Doors Down, 50 Cent, ABBA, Christina Aguilera, Beastie Boys, Mary J. Blige, Bon Jovi, Mariah Carey, Chemical Brothers, The Clash, Coldplay, Elvis Costello, The Cure, Daughtry, Gloria and Emilio Estefan, Franz Ferdinand, Juan Gabriel, Robin and Maurice Gibb (Bee Gees), Dave Grohl (Foo Fighters), Elton John, Keane, The Killers, Linkin Park, Maroon 5, Brian McKnight, Ne-Yo, Prince, The Sex Pistols, Paul Simon, Britney Spears, Bernie Taupin, Justin Timberlake, T-Pain, U2, Keith Urban, and the catalogs of

Download at www.musicconnection.com/industry-contacts Henry Mancini and Leonard Bernstein, more.

How to Submit: no unsolicited material Additional locations: 1755 Broadway, 3rd Fl. New York, NY 10019 212-841-8156 Fax 212-841-8072 How to Submit: no unsolicited material 1904 Adelicia St. Nashville, TN 37212 615-340-5400 Fax 615-340- 5491 E-mail: umpgmktg@umusic.com How to Submit: no unsolicited material 404 Washington Ave., Ste. 800 Miami Beach, FL 33139 305-604-1300 Fax 305-604-1351 E-mail: Hector.Rivera@umusic.com Contact: Fernando Rojo, Sr. Dir., Creative/New Business How to Submit: no unsolicited material URBAND & LAZAR MUSIC PUBLISHING 1617 Cosmo St., Ste. 411 Los Angeles, CA 90028 323-230-6592 E-mail: help@urbandlazar.com Web: www.urbandlazar.com Contact: Jonathan Lazar Styles: indie rock, alt., s/s, dub, pop How to Submit: We do not accept unsolicited material VINEYARD MUSIC 405 S. State College Blvd., Ste. 202 Brea, CA 92821 714-769-9076 E-mail: info@vineyardmusic.com Web: www.vineyardworshop.com Styles: CCM How to Submit: No unsolicited material WARNER/CHAPPELL PRODUCTION MUSIC 1030 16th Ave. S. Nashville, TN 37212 888.615.8729 Fax 615.242.2455 E-mail: tom.english@warnerchappellpm.com Web: warnerchappellpm.com Contact: Tom English How To Submit: accepts unsolicited material.

Submit to: Warner/Chappell Production Music, Attn: Aaron Gant. 1030 16th Avenue South, Nashville, TN 37212 WESTERN BEAT MUSIC P.O. Box 128105 Nashville, TN 37212 615-665-8772 E-mail: billy@billyblock.com Web: www.billyblock.com, https://www. facebook.com/TheBillyBlockShow Contact: Billy Block How to Submit: no unsolicited material WILLIAMSON MUSIC 229 W. 28th St., 11th Fl. New York, NY 10001 212-541-6600 Fax 212-586-6155 E-mail: editor@rnh.com Web: www.rnh.com Styles: Show Tunes, Concert, Pop How to Submit: No unsolicited material WINETHIRTY MUSIC PUBLISHING A new division of Evolution Promotion 7 Arlene Ave.

Wilmington, MA 01887 978-658-3357 E-mail: info@evolutionpromotion.com Web: www.evolutionpromotion.com Contact: Karen Lee, President, Karen Doran, GM Styles: concentrates on music placements in Film/TV, commercials, video games, web Published: boutique publisher representing the works of a choice few independent artists and composers including: Asaf Avidan, Miles of Wire, Rogue State, Dolom Zero, Aquarius Minded How to Submit: e-mail us a link where we can listen WIXEN MUSIC PUBLISHING INC. 24025 Park Sorrento, Ste. 130 Calabasas, CA 91302 818 591-7355 Fax 818 591-7178 Contact: Randall Wixen E-mail: licensing@wixenmusic.com Web: www.wixenmusic.com How to Submit: call for more info WORD MUSIC PUBLISHING 25 Music Sq. W. Nashville, TN 37203 615-687-6780 E-mail: info@wordmusic.com Web: www.wordrecords.com Styles: CCM How to Submit: no unsolicited material, Christian arm of Warner Brothers YMC RECORDS P.O. Box 7809 Dallas, TX 75209 E-mail: info@ccentertainment.com Web: www.wdmg.com Contact: Gina Morrison

ORGANIZATIONS AFM & AFTRA INTELLECTUAL PROPERTY RIGHTS DISTRIBUTION FUND 12001 Ventura Pl., 5th Fl. Studio City, CA 91604 818-755-7777 Fax 818-755-7778 E-mail: KRoberts@fmsmf.org Web: www.fmsmf.org ASCAP (AMERICAN SOCIETY OF COMPOSERS, AUTHORS AND PUBLISHERS) 7920 Sunset Blvd., 3rd Fl. S Los Angeles, CA 90046 323-883-1000 E-mail: info@ascap.com Web: www.ascap.com Styles: all styles Additional locations: 1900 Broadway New York, NY 10023 212-621-6000 Fax 212-621-8453 950 Joseph E. Lowery Blvd, NW, Ste. 23 Atlanta, GA 30318 404-685-8699, Fax 404-685-8701 Two Music Sq. W. Nashville, TN 37203 615-742-5000 Fax 615-742-5020 420 Lincoln Rd., Ste. 385 Miami Beach, FL 33139 305-673-3446 Fax 305-673-2446

Ave. Martinez Nadal c/ Hill Side 623 San Juan, PR 00920 787-707-0782 Fax 787-707-0783 8 Cork St. London W1S3L1 011-44-207-439-0909 Fax 011-44-207-434-0073 ASSOCIATION OF INDEPENDENT MUSIC PUBLISHERS (AIMP) P.O. Box 69473 Los Angeles, CA 90069 818-771-7301 E-mail: lainfo@aimp.org Web: www.aimp.org Additional location: 805 Third Ave., Ste. 1002 New York, NY 10022 866-594-6705 E-mail: nyinfo@aimp.org 1229 17th Ave. S. Nashville, TN 37212 615-727-2064 E-mail: NAinfo@aimp.org BMI (BROADCAST MUSIC INC.) 8730 Sunset Blvd., 3rd Fl. W. Los Angeles, CA 90069 310-659-9109 E-mail: losangeles@bmi.com Web: www.bmi.com Styles: all styles Additional locations: 7 World Trade Center 250 Greenwich St. New York, NY 10007-0030 212-220-3000 E-mail: newyork@bmi.com 10 Music Square E. Nashville, TN 37203 615-401-2000 E-mail: nashville@bmi.com Miami Beach, FL 33139 305-673-5148 E-mail: miami@bmi.com 3340 Peachtree Rd. N.E., Ste. 570 Atlanta, GA 30326 404-261-5151 E-mail: atlanta@bmi.com 1250 Ave. Ponce de Leon San Jose Building, Ste. 1008 Santurce, PR 00907 787-754-6490 E-mail: puertorico@bmi.com 84 Harley House Marylebone Rd. London NW1 5HN U.K. 011-44-20-7486-2036 E-mail: london@bmi.com CALIFORNIA COPYRIGHT CONFERENCE (CCC) P.O. Box 57962 Sherman Oaks, CA 91413 818-379-3312

E-mail: attn@theccc.org Web: www.theccc.org CHURCH MUSIC PUBLISHERS ASSOCIATION (CMPA) P.O. Box 158992 Nashville, TN 37215 615-791-0273 Fax 615-790-8847 Web: cmpamusic.org HARRY FOX AGENCY, INC., THE (HFA) 40 Wall Street - 6th Fl. New York, NY 10005 212-834-0100 E-mail: publisherservices@harryfox.com Web: www.harryfox.com NATIONAL MUSIC PUBLISHERS ASSOCIATION (NMPA) 101 Constitution Ave. NW, Ste. 705 E. Washington, DC 20001 202-742-4375 Web: www.nmpa.org SESAC 55 Music Sq. E. Nashville, TN 37203 615-320-0055 Web: www.sesac.com Styles: all styles Additional locations: 6100 Wilshire Blvd. Ste 700 Los Angeles, CA 90048 323-937-3722 Fax 323-937-3733 152 W. 57th St., 57th Fl. New York, NY 10019 212-586-3450 Fax 212-489-5699 981 Joseph E. Lowery Blvd. N.W., Ste. 102 Atlanta, GA 30318 404-897-1330 1221 Brickell Ave. Miami, FL 33131 305-534-7500 67 Upper Berkeley St. London W1H 7QX England 020 7616 9284 Fax 020 7563 7029 SENA Catharina van Renneslaan 20 1217 CX Hilversum 035 - 625 1700 E-mail: sena@sena.nl Web: http://sena.nl/about-sena SOUNDEXCHANGE, INC. 733 10th St., N.W., 10th F. Washington, D.C. 20001 202-640-5858 E-mail: info@soundexchange.com Web: Soundexchange.com U.S. COPYRIGHT OFFICE 101 Independence Ave. S.E. Washington, D.C. 20559-6000 202-707-3000, 1-877-476-0778 (toll free) Web: www.copyright.gov

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Annual Directory of Film/TV Music

Supervisors & Post-Production Getting your music placed in a film, TV show or videogame will be far easier for you when using this exclusive MC directory.

And be sure to see the Post-Production services listed as well. All listings are verified for 2014 with info supplied by the listees.

MUSIC SUPERVISORS 5 ALARM MUSIC 35 W. Dayton St. Pasadena, CA 626-304-1698, 800-322-7879 E-mail: jd@5alarmmusic.com Web: www.5alarmmusic.com How to Submit: E-mail or phone Additional location: 229 W. 28th St., 11th Fl. New York, NY 10001 212-699-6539 35 SOUND P.O. Box 217 Pacific Palisades, CA 90272 310-454-1280 Fax 310-454-3443 E-mail: gmarq@35sound.com Web: www.35sound.com Music Supervisors: G. Marq Roswell, Carter LIttle Credits: The Great Debaters, Man With The Iron Fists, Half The Sky, Birth Story How to Submit: no unsolicited material ABBEY ENTERTAINMENT 530 South Lake Ave. Pasadena, CA 91101 818-755-3942 E-mail: abbeyent@aol.com Contact: Stephen Elvis Smith, music supervisor Credits: Decline of Western Civilization, Square Pegs, A Different World, Pump Up the Volume, Beverly Hillbillies Movie, Committed, But I’m A Cheerleader, Original Manager of Lenny Kravitz How to Submit: NO unsolicited material accepted by unsigned artists, no phone calls AIR-EDEL USA 9100 Wilshire Blvd., Ste. 350E Beverly Hills, CA 90212 310-802-7655 E-mail: info@cuttingedgegroup.com Web: www.airedel.com Contact: Mark Thomas Credits: see web How to Submit: Does not accept unsolicited composer submissions Additional location: 18 Rodmarton St. London, W1U 8BJ Tel: +44 (0)20 7486 6466 ARLENE FISHBACH ENTERPRISES 1223 Wilshire Blvd., Ste. 304 Santa Monica, CA 90403 310-451-5916 E-mail: afent2@gmail.com Contact: Arlene Fishbach Credits: features, feature trailers & promos How to Submit: no unsolicited material AUDIO MOTION MUSIC 191 Peachtree St., N.E., Ste. 3300 Atlanta, GA 30303 404-736-3622 E-mail: contact@audiomotionmusic.com Web: Audiomotionmusic.com Additional locations: 65 Clinton St. Malden, MA 02148 8851 A1A S. St. Augustine, FL 32080 AVATAR DIGI 2029 Hyperion Ave. Los Angeles, CA 90027 323-906-1500 E-mail: info@avatardigi.com Web: www.avatardigi.com Credits: MTV, CBS, Paramount, Sony, Warner, Apple iTunes, Microsoft, Amazon, Rhapsody How to Submit: accepts CDs only, no MP3s or WAV files BATES MEYER INC. P.O. Box 2821 Big Bear Lake, CA 92315 909-547-0504 Fax 909-547-0901

E-mail: rick@batesmeyer.com Web: www.batesmeyer.com Contact: Rick Bates and Nancy Meyer BIG SOUNDS INTERNATIONAL P.O. Box 48258 Los Angeles, CA 90048 323-954-0274 Fax 323-954-0277 E-mail: info@bigsoundsintl.com Web: http://www.bigsoundsintl.com/contact.htm Music Supervisor: Jonathan Hafter How to Submit: no unsolicited material accepted BILLY BLOCK MUSIC P.O. Box 128105 Nashville, TN 37212 615-665-8772 E-mail: billy@billyblock.com Web: www.billyblock.com Contact: Billy Block How to Submit: no unsolicited material

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BREWMAN MUSIC & ENTERTAINMENT 1337 Talmadge St. Los Angeles, CA 90027 310-318-4104 E-mail: infowest@bmemusic.com Web: www.bmemusic.com Contact: Alan Brewer How to Submit: no unsolicited material

8240 Beverly Blvd., Ste. 15 Los Angeles, CA 90048 323-419-3898 Fax 646-349-1110 Contact: Gabe Hilfer E-mail: gabe@clearsongs.com CODA MUSIC SERVICES 17345 Marlin Pl. Lake Balboa, CA 91406 818-342-5496 E-mail: margaret@codamusicservices.com Web: www.codamusicservices.com Music Supervisors: Margaret Guerra Rogers, Kelly Bennett Credits: Real Women Have Curves, Price of Glory, Tortilla Heaven, For Love or Country, etc.

How to Submit: no unsolicited material CREATIVE CONTROL 4610 Hollywood Blvd.

Los Angeles, CA 90027 E-mail: info@creativecontrolent.com Web: www.creativecontrolent.com Contact: Joel C. High How to Submit: e-mail before sending material

Additional location: 808 19th Ave., S. Nashville, TN 37203 E-mail: info@BMEmusic.com BROOKE WENTZ THE RIGHTS WORKSHOP 39 Mesa St., Ste. 101 San Francisco, CA 94129 415-561-3333 E-mail: info@rightsworkshop.com Web: www.rightsworkshop.com Contact: Brooke Wentz Comments: Music director for ESPN, TechTV, Time’s Square Millennium Celebration, awardwinning soundtrack producer; extensive music and IP rights experience. MBA. How to Submit: submissions@rightsworkshop. com Additional location: 514 Victoria Ave. Venice, CA 90291 310-439-1290 BULLETPROOF RECORDS E-mail: ralph@bulletproofentertainment.com Web: www.bulletproofrecords.com Contact: Ralph Sall CHICAGO MUSIC LIBRARY Malibu, Los Angeles and Encino, CA 818-906-3988 Fax 818-789-5801 E-mail: submissions@chicagomusiclibrary.com Web: www.chicagomusiclibrary.com Credits: Warner Brothers, Paramount, Deluxe Laborites, Technicolor etc.

How to Submit: please contact first before sending CDs CHOP SHOP MUSIC SUPERVISION So. Pasadena, CA E-mail: info@chopshoprecords.com Web: chopshopmusic.com Contact: Alexandra Patsavas Credits: John Tucker Must Die, The Invisible, Gossip Girl, Grey’s Anatomy, Chuck, Private Practice, Mad Men, Rescue Me, Without A Trace, Supernatural, Num3ers How to Submit: no unsolicited material CINECALL SOUNDTRACKS 24 Mechanic St., Ste. E Red Bank, NJ 07701

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CLEARSONGS 244 5th Ave. Ste. 2262 New York, NY 10001 212-627-8767 Fax 646-349-1110 E-mail: jim@clearsongs.com Contact: Jim Black Web: http://clearsongs.com/contact.html Credits: HBO, Artisan, Lion’s Gate, October Films, USA Films, Oxygen Music Works, Miramax, Columbia, Searchlight How to Submit: no unsolicited material Additional location:

BLINDLIGHT 8335 Sunset Blvd.

W. Hollywood, CA 90069 323-337-9090 E-mail: info@blindlight.com Web: www.blindlightmedia.com Comments: complete music supervision and productions services exclusively for video games.

How to Submit: no unsolicited material

C O M P I L E D

732-450-8882 Web: www.cinecall.com Contact: George McMorrow How to Submit: no unsolicited material

B Y

CUE HITS c/o ACM Records, Inc. P.O. Box 195 Fair Lawn, NJ 07410 E-mail: info@cuehits.com Web: www.cuehits.com How to Submit: email for information on licensing and rates DANCING MICE PRODUCTIONS CLEARANCE 1234 Delaware Ave. Buffalo, NY 14209 716-885-3030 Fax 7160-885-4040 E-mail: scott@dancingmice.net Web: www.dancingmice.net Contact: Scottpatrick Sellitto Credits: Miami Vice, Ultraviolet, Eight Below, 3 Needles, Tesseract, Head In The Clouds, Dom, Tart, Ms. Globe Pageant 2001 How to Submit: Please send product for review along with bio and any additional information you may feel would be helpful in the review process to our U.S. Headquarters. Do not call or email. We will contact you if interested.

DESERT C.A.M. STUDIOS/WINMILL FILMS, LLC 78580 Avenida Tujunga La Quinta, CA 92253-2896 760-972-4559 E-mail: Chip@DesertCAM.com Web: www.DesertCAM.com; https://www.youtube.com/user/chipdaniel2 Contacts: Chip Miller (Director/Producer/Writer/ Partner), Daniel Pomeroy (Music Supervisor/ Film & TV Licensing), Sue Travis Miller (Producer/Editor/Operations), Janaki Jennings (Editor/Music Engineer/Stage Production Coordinator), Eileen Lorena (Account Executive), Catherine George-Daniels (Music & Post Coordinator) How to Submit: For unsolicited materials only, we accept CD and/or DVD format only. For industry submissions, please send e-cards, standard music transfer files, and/or CD/DVD format.

Additional location: Vancouver, BC V5KOA1 877-977-DCAM E-mail: pogmothon@dc.rr.com Web: www.DesertCAM.com Contacts: Hagai Amir (Executive Producer/ Partner), Don Pinckston (Producer), Sue Ann Walker (Operations/Studio Coordinator), Kit Gleason (Music Coordinator/Film & TV Licensing) How to Submit: For unsolicited materials, we accept CD and/or DVD format only. For industry submissions, please send e-cards, standard music transfer files, and/or CD/DVD formats - all submissions should be sent to our La Quinta, CA office.

D. FRANCO INTERNATIONAL MUSIC PRODUCTIONS 4342 Redwood Ave., Ste. 310 Marina Del Rey, CA 90292 310-823-5547 Fax 310-821-0707 E-mail: dfintlprod@aol.com Contact: David Franco, President / Music Producer How to Submit: call before submitting material DONDI BASTONE Web: www.dondibastone.com Credits: Election, The Crew, The Descendants, more How to Submit: unsolicited material accepted DON GRIERSON Web: www.dongrierson.com Contact: Don Grierson How to Submit: contact first before submitting material, see website EMOTO MUSIC 1615 16th St. Santa Monica, CA 90404 310-399-6900 E-mail: lindsay@emotomusic.com Web: www.emotomusic.com Contact: Lindsay Froemke Comments: work with various filmmakers How to Submit: no unsolicited material

DAUMAN MUSIC 310-275-0701 E-mail: jason@daumanmusic.com Web: www.daumanmusic.com How to Submit: unsolicited material accepted

FEEDBACK! MUSIC SUPERVISION 818-275-4367 Web: www.brucerabinowitz.com E-mail: bruce@brucerabinowitz.com Contact: Bruce Rabinowitz How to Submit: via e-mail

DAVID QUAN Director, Music Services NBC Universal 100 Universal City Plaza Universal City, CA 91608 818-777-0048 Web: www.nbcuni.com How to Submit: no unsolicited material

FILM MUSICIANS SECONDARY MARKETS FUND 12001 Ventura Pl. 5th Fl. Studio City, CA 91604 818-755-7777 Fax 818-755-7778 E-mail: participantservices@fmsmf.org Web: www.fmsmf.org

DE ROCHE MUSIC 17153 Rayen St. Northridge, CA 91325 818-886-5262 E-mail: ross@derochemusic.com Web: www.derochemusic.com Contact: Ross De Roche Credits: My Sweet Ex Girlfriend, Mr. & Mrs. Smith, Ghosts of Girlfriends Past, Just Like Heaven, Failure to Launch, Watchmen, Video Games Live How to Submit: no unsolicited material

FIRSTCOM MUSIC 1325 Capital Pkwy., Ste. 109 Carrollton, TX 75006 800-858-8880, 972-446-8742 E-mail: info@firstcom.com Web: www.firstcom.com Credits: America’s Most Wanted, C.S.I., Good Morning America, Dancing With The Stars, Bad Girls, Club, Six Feet Under, Moonlight, Ugly Betty, The View, Iron Man, Get Smart, National Treasure: Book of Secrets How to Submit: no unsolicited material

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Download at www.musicconnection.com/industry-contacts Additional location: 2110 Colorado Ave., Ste. 110 Santa Monica, CA 90404 800-778-1574, 310-865-4477 FORD MUSIC SERVICES 530 S. Hewitt St. #542 Los Angeles, CA 90013 323-939-2955 Fax 323-939-2951 E-mail: artfordmusic@yahoo.com Web: WorldSongNetwork.com Contact: Art Ford Comments: Ford Music Services is one of the largest independent film & TV music companies in the US. They represent labels, publishers, artists, songwriters and music catalogs to film, television and the advertising community for placements.

FUSION MUSIC SUPERVISION E-mail: submissions@fusionmusicsupervision. com Web: www.fusionmusicsupervision.com Contact: Christopher T. Mollere GEORGE ACOGNY, INC. 818-713-0660 E-mail: sessiwede@aol.com Contact: George Acogny How to Submit: no unsolicited material GERRY GERSHMAN MUSIC SUPERVISION 322 S. Topanga Canyon Blvd.

Topanga, CA 90290 310-570-0070 E-mail: invisiblefilms@earthlink.net Contact: Gerry Gershman How to Submit: accepts CDs and internet links for downloads, email or mail GOODNIGHT KISS MUSIC 10153 1/2 Riverside Dr., Ste. 239 Toluca Lake, CA 91602 808-331-0707 E-mail: janet@goodnightkiss.com Web: www.goodnightkiss.com Contact: Janet Fisher Credits: HBO, Showtime, NBC How to Submit: please see web GOTHAM MUSIC PLACEMENT P.O. Box 7185 Santa Monica, CA 90406 Attn: Submissions E-mail: info@gothamrecords.com Web: www.gothamrecords.com Contact: Patrick Arn How to Submit: see website HAIKU ENTERTAINMENT E-mail: haikuent@aol.com Contact: Jonathan Weiss Comments: Music supervisor for The Real World Challenge, Keeping Up With The Kardashians, Love Games How to Submit: email request for submission HEAR IT - CLEAR IT MUSIC SUPERVISION P.O. Box 29618 San Antonio, TX 78229 512-913-8594 Fax 512-233-2590 E-mail: dominique@hearitclearit.com Web: www.hearitclearit.com Contact: Dominique Preyer IDM MUSIC 111 E. 14th St., Ste. 140 New York, NY 10003 212-695-3911 E-mail: info@idmmusic.com Web: www.idmmusic.com Comments: Music licensing and music clearance, music representation; master & publishing, music supervision, catalogue and copyright admin.

Credits: ABC, BBDO, CBS, Disney, Fox, HBO, MTV, Showtime, Grey Worldwide, NBC - check site for full list.

How to Submit: no unsolicited material IMC ENTERTAINMENT GROUP 19360 Rinaldi St., Ste. 217 Porter Ranch, CA 91326 818-700-9655 E-mail: sr@imcentertainment.com Contact: Sylvester Rivers Web: www.SylvesterRivers.com Music Supervisors: Sylvester Rivers, Paul Riser INAUDIBLE Los Angeles, CA 818-385-3400 Fax 818-385-3456 E-mail: info@inaudibleprod.com Web: www.inaudibleprod.com Music Supervisors: Peter Afterman, Margaret Yen How to Submit: no unsolicited material JANICE GINSBERG & ASSOCIATES 280 Riverside Dr., Ste. 12L

New York, NY 10025 212-865-8044 E-mail: jginsberg@aol.com, chrystye@gmail. com Contact: Janice Ginsberg, Christie Allen How to Submit: no unsolicited material JODY FRIEDMAN 22636 Demasia Mission Viejo, CA 92691 949-916-8368 E-mail: music@HDMusic.com Web: www.jodyfriedman.com Contact: Jody Friedman How to Submit: We are not currently accepting unsolicited submissions JONATHAN LAZAR Urban & Lazar Los Angeles, Miami 323-230-6592 E-mail: help@urbandlazar.com Web: www.Urbandlazar.com How to Submit: No unsolicited material LUCKY DUCK MUSIC Los Angeles, CA 424-288-2000 E-mail: cbelden@caa.com Web: www.luckyduckmusic.net Contact: Christine Belden, Creative Artists Agency Credits: Workaholics, Outlaw, Las Vegas, Knight Rider, Lost, Smallville, Alias, Felicity, How to Submit: no unsolicited material MACHINE HEAD 310-392-8393, Web: www.machinehead.com Contact: Patty Chow Credits: New Line Films, Lions Gate Films, Ogilvy & Mather, TBWA Chiat Day, THQ, The Matrix Video Game How to Submit: no unsolicited material MAR TUNE MUSIC P.O. Box 416 Pasadena, CA 91102 626-441-0400 E-mail: inquiry@martunemusic.com Web: http://martunemusic.com MEDIA CREATURE MUSIC 6121 Santa Monica Blvd Los Angeles, CA 90038 323-468-8888 Contact: Sharal Churchill How to Submit: accepts unsolicited material MICHAEL WELSH PRODUCTIONS 2215 Lambert Dr. Pasadena, CA 91107 626-796-7821 Fax 626-796-0847 E-mail: info@michaelwelshprods.com Web: www.michaelwelshprods.com Contact: Michael Welsh, Maya Halfon Comments: Music searches and clearances.

Credits: Macy’s, Gap, American Eagle Outfitters, DKNY, FedEx, Old Navy, Mitsubishi, Ford, Banana Republic, Yahoo, Nokia, Chivas Regal, Payless Shoes How to Submit: no unsolicited material MIKE FLICKER MUSIC SERVICES Burbank, CA Web: www.mikeflicker.com Contact: Mike Flicker Music Supervisors: Mike Flicker, CEO Credits: Viacom, 20th Century Fox, Showtime, Granada Entertainment, WB, ABC How to Submit: no unsolicited material MUSIC BRIDGE LLC, THE P.O. Box 661918 Los Angeles, CA 90066 310-398-9650 Fax 310-398-4850 E-mail: david@themusicbridge.com Web: www.themusicbridge.com Contact: David G. Powell, President How to Submit: no unsolicited material MUSIC ORANGE 1 Icehouse Alley San Francisco, CA 94111 415-398-6264 E-mail: michael@musicorange.com Web: http://musicorange.com Contact: Michael Lande MUSIC SALES WEST 1321 7th St., #300 Santa Monica, CA 90401 310-458-9861 E-mail: info@musicsales.com Web: www.musicsales.com How to Submit: no unsolicited material Additional locations: 180 Madison Ave., 24th Fl. New York, NY 10016 212-254-2100

14-15 Berners St. London W1T 3LJ, UK +44 20 7612 7400 E-mail: music@musicsales.co.uk

How to Submit: Please submit direct any content to the email address

MUSIC WITHOUT BORDERS (MWB) 159 Fishing Trail Stamford, CT 06903 203-769-5573 Fax 203-769-5574 E-mail: steve@musicconsultant.net Web: www.musicconsultant.net Contact: Steve Lurie, Founder and President

514 Victoria Ave. Venice, CA 90291 310-439-1290

MUTATO MUZIKA 8760 W. Sunset Blvd.

Los Angeles, CA 90069 310-360-0561 E-mail: natalie.montgomery@gmail.com Web: www.mutato.com Contact: Natalie Montgomery Credits: MTV2, Sci-Fi Channel, Films, Ad Agencies, CW Network, Nike, SIMS, HBO How to Submit: accepts unsolicited material, CDs only NAXOS OF AMERICA 1810 Columbia Ave., Ste. 28 Franklin, TN 37064 615-771-9393 Web: www.naxos.com How to Submit: no unsolicited material NEOPHONIC, INC. 1433 6th St. Santa Monica, CA 90401 310-550-0124 Web: www.neophonic.com Contact: Evyen Klean, music supervisor; PJ Bloom, music supervisor How to Submit: e-mail submission request at website PEACE BISQUIT 718-789-1689 E-mail: info@peacebisquit.com Web: www.peacebisquit.com How to Submit: no unsolicited material QUARK RECORDS / QUARKETTE MUSIC (BMI) / FREEDURB MUSIC (ASCAP) P.O. Box 452 Newtown, CT 06470 917-687-998 Web: quarkrecordsusa.com E-mail: ar@quarkrecordsusa.com Contact: Curtis Urbina Credits: Lion’s Gate, Indican Pictures, Miramax, Ultrascene, Quark How to Submit: We do not accept music submissions for A&R review via physical media or digital download. If you would like to have your music reviewed by the A&R staff or any of its subsidiaries you must have a public link shared to your music on the internet. Private links are also acceptable and will be reviewed by our staff.

REAL CURES MUSIC 11900 Metric Blvd. #J-195 Austin, TX 78758 512-532-6157 E-mail: realcures@yahoo.com Web: www.realcures.net Contact: David Lear Styles: Americana, indie rock, alt. country, rockabilly, acoustic, folk How to Submit: unsolicited materials accepted via U.S. mail REEL ENTERTAINMENT 11684 Ventura Blvd., Ste. 134 Studio City, CA 91604 310-428-5924 E-mail: info@reelent.com Web: www.reelent.com Contact: Mark Wolfson Credits: The Playtone Company, Cutback - Key 2 The Kingdom/ Paige DePonte, Seis Pistos, Mercy Pilots, Temple Of Heads, The Grab Brothers, Charlotte Henry, Stacey Bowmen, Life On Mars.

How to Submit: e-mail submission request REEL SOUND, INC. 818-618-REEL (7335) E-mail: reelsoundinc@aol.com Web: www.reelsoundinc.com Contact: Michael Becker How to Submit: e-mail before submitting RIGHTS WORKSHOP, THE 39 Mesa St., Ste. 101 San Francisco, CA 94129 415-561-3333 E-mail: submissions@rightsworkshop.com Web: www.rightsworkshop.com Contact: Maryam Soleiman, Annie Lin, Brooke Wentz Credits: Big River Man, La Mission, Everyday Sunshine: The Story of Fishbone, The Devil & David Johnston, The Weather Underground, American Hardcore

Additional location:

ROCK RIVER MUSIC 520 Hampshire St. #202 San Francisco, CA 94110 415-355-1550 Fax 415-355-0550 Web: www.rockrivermusic.com Contact: Nathan Sedlander How to Submit: call for more info RIPTIDE MUSIC GROUP 9469 Jefferson Blvd. Ste. 114 Culver City, CA 90232 310-437-4380, Fax 310-437-4384 E-mail: submissions@riptidemusic.com Web: riptidemusic.com How to Submit: please direct us to you online links only. We will delete MP3s or files upon receipt that are emailed to us with attachments.

If we are interested in working with you…we’ll be in contact.

SCREENMUSIC INTERNATIONAL — PRODUCTION MUSIC LIBRARY 18034 Ventura Blvd., Ste. 450 Encino, CA 91316 818-789-2954 E-mail: screenmusic@aol.com Web: www.screenmusic.com Credits: All major Film & TV companies incl.

Warner Brothers, Dreamworks, Lion’s Gate Films, MGM, Paramount How to Submit: please contact first before sending CDs SL FELDMAN & ASSOCIATES 200-1505 W. 2nd Ave. Vancouver, BC V6H 3Y4 604-734-5945 E-mail: natasha@slfa.com Web: www.feldman-agency.com Contact: Natasha Duprey Styles: all Credits: Defining Gravity, Imaginarium of Doctor Parnassus, Frankie & Alice How to Submit: no unsolicited material accepted Additional location: 8 Elm St. Toronto, ON M5G 1G7 416-598-0067 Los Angeles 310-260-2700 SMC ARTISTS 1525 Aviation Blvd., Ste. 186 Redondo Beach, CA 90278 818-505-9600 Web: www.smcartists.com Contact: Otto Vavrin II How to Contact: call before submitting material SONGFINDER Atlanta, GA 404-437-7978 E-mail: melissa@original-media.net Web: http://musicsongfinder.com Contact: Melissa Love SOUNDTRACK MUSIC ASSOCIATES 1460 4th St. #308 Santa Monica, CA 90401 310-260-1023 E-mail: info@soundtrk.com Web: www.soundtrk.com Contact: John Tempereau, Roxanne Lippel Music Supervisors: George Acogny, Anastasia Brown, Jason Eldredge, Matt Kierscht, Frankie Pine, Michelle Silverman, Carter B. Smith, Koyo Sonae How to Submit: no unsolicited material SUPERVISION 165 Hudson St., Rear Entrance New York, NY 10013 212-219-9170 E-mail: supervision@mindspring.com Contact: Susan Jacobs, Jackie Mulhearn How to Submit: no unsolicited material SWEET & DOGGETT Boston, MA 617-872-0455 E-mail: info@sweetdoggett.com Web: www.sweetdoggett.com Contact: Jay Sweet or Scot Doggett Credits: AOL, Merrill Lynch, Kodak, FisherPrice, Dunkin Donuts How to Submit: no unsolicited material SYNC POP MUSIC SUPERVISION Los Angeles, CA

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Annual Directory of Film/TV Music Supervisors & Post-Production 213-447-6048 E-mail: contact@syncpopmusic.com Web: http://syncpopmusic.com, www.myspace. com/syncpop Credits: Luster, Stuntwood, FAQS, For Right or Wrong, FuelTV, Sundance Channel, Logo TLS MUSIC SERVICES 818-848-2330 Fax 818-848-4006 E-mail: tracy@tlsms.com Web: www.tlsms.com Music Supervisor: Tracy Lynch-Sanchez Credits: Napoleon Dynamite, 20th Century Fox, Universal Studios Home Entertainment, MGM How to Submit: no unsolicited material TRF PRODUCTION MUSIC LIBRARIES 106 Apple St., Ste. 302 Tinton Falls, NJ 07724 201-335-0005, 800-899-MUSIC E-mail: info@trfmusic.com Web: www.trfmusic.com Contact: Anne Marie Russo Credits: TV Networks, Film Studios, Ad Agencies How to Submit: submit Acoustic & Instrumental material only TRUE TALENT MANAGEMENT 9663 Santa Monica Blvd., #320 Dept. WEB Beverly Hills, CA 90210 310-560-1290 E-mail: webinfo@truetalentmgmt.com Web: www.truetalentmgmt.com How to Submit: accepts unsolicited material UMG NASHVILLE 401 Commerce St. Nashville, TN 37219 615-244-8944 Web: www.umgnashville.com Styles: Country, rock, singer-songwriter Clients: Shania Twain, Toby Keith, Willie Nelson, Ryan Adams, George Strait, Reba McEntire, more Credits: Lost Highway, Mercury, MCA, Dreamworks How to Submit: no unsolicited material VELVET EARS 4570 Van Nuys Blvd.

Sherman Oaks, CA 91403 818-510-0295 Fax 310-496-2624 Web: www.velvet-Ears.com Contact: Liz Gallacher, Kathleen Hasay Credits: Live Forever, Virgin Records, Bend It Like Beckham, Cube Soundtracks, Resident Evil VERSUSMEDIA 556 S Fair Oaks Ave., Ste. 245 Pasadena, CA 91105 877-633-8764 E-mail: info@versusmedia.com Web: www.versusmedia.com Contact: Ryan Styles: All genres Credits: Over 900 independent films worldwide How to Submit: online registration necessary to receive listings VISUAL MUSIC SERVICE 9507 Santa Monica Blvd., Ste. 202 Beverly Hills, CA 90210 Office 310-274-9601 Mobile 818-481-0840 E-mail: rick.fleishman@gmail.com Web: www.visualmusicservice.com Contact: Rick Fleishman How to Submit: no unsolicited material WARD HAKE VP Music, 20th Century Fox TV 10201 W. Pico Blvd.

Bldg. 88, Ste. 30 Los Angeles, CA 90035 310-369-1000 Fax 310-369-8726 Credits: 24, Prison Break, The Simpsons, Family Guy, My Name Is Earl, How I Met Your Mother, The Unit, The Shield, Shark and Bones How to Submit: no unsolicited material WARNER/CHAPPELL PRODUCTION MUSIC 10585 Santa Monica Blvd.

Los Angeles, CA 90025 818-238-6300 E-mail: submissions@warnerchappellpm.com Web: www.warnerchappellpm.com How to Submit: We do not accept composer demos and library discs for consideration. We only accept emails with a link to your music.

NO music files attached to the email WJOY MUSIC SEARCH & LICENSING 2675 W. Grand Ave., Ste. 505 Chicago, IL 60612 773-276-9340 Web: www.wjoymusic.com Contact: Joy Wellington Tillis Comments: WJOY provides a service to advertising and corporate clients by aiding

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them in obtaining rights to use pre-recorded and stock music.

How to Submit: not taking music submissions at this time ZOO STREET MUSIC 2701 W. Willow St. Burbank, CA 91505 818-955-5268 E-mail: music@zoostreet.com Web: www.zoostreet.com Contact: Omar Herrera Credits: The Batmobile documentary, the Dark Knight Rises, The Lorax, The Bourne Legacy, American Reunion, The Avengers, Men in Black 3, Hotel Transylvania, and Happy Feet Two. How to Submit: no unsolicited material

POST-PRODUCTION CALIFORNIA 740 SOUND DESIGN 12509 Beatrice St. Los Angeles, CA 90066 310-574-0740 Fax: 310-306-0744 E-mail: info@740sounddesign.com Web: www.740sounddesign.com Basic Rate: call for info ABSOLUTE RENTALS 2633 N. San Fernando Burbank, CA 91504 818-842-2828, 310-560-2373, 702-435-0277 E-mail: dave@absoluterentals.com Web: www.absoluterentals.com Basic Rate: call for info BELL SOUND STUDIOS 916 N. Citrus Ave. Hollywood, CA 90038 323-461-3036 E-mail: beth@bellsound.com Web: www.bellsound.com Basic Rate: call for info BRIAN BANKS MUSIC 310-691-2347 UK +44-20-7096-1652 E-mail: brian@brianbanksmusic.com Contact: Amy Lyngos, Jenny Warren Web: brianbanksmusic.com Basic Rate: call for info BRIDGE RECORDING, THE 736 Salem St. Glendale, CA 91203 818-396-4474 Fax 818-396-4979 E-mail: vicki@thebridgerecording.com Web: www.thebridgerecording.com Basic rate: call for info BRUCE ROBB PRODUCTIONS & QUARTER2THREE RECORDS 323-903-0003 Fax 323-210-7434 Web: www.brucerobbproductions.com E-mail: info@brucerobbproductions.com CAPITOL STUDIOS 1750 N. Vine St. Los Angeles, CA 90028 323-871-5001 Fax 323-871-5058 E-mail: mark.moreno@umusic.com Web: www.capitolstudios.com Contact: Mark Moreno Basic Rate: call for info CASHMAN COMMERCIALS 26136 N. Twain Pl. Stevenson Ranch, CA 91381 661-222-9300 E-mail: info@cashmancommercials.com Web: www.cashmancommercials.com Basic Rate: call for info CHARLES LAURENCE PRODUCTIONS 19002 Los Alimos St. Northridge, CA 818-368-4962 E-mail: clpmanagement@aol.com Web: clpstudios.com Contact: Charles Laurence Basic Rate: call for info CINEWORKS DIGITAL STUDIOS 3753 Cahuenga Blvd, W. Studio City, CA 91604 818-766-5000 Fax 818-623-7457 E-mail: info@cineworks.com Web: www.cineworks.com Basic Rate: call for info Additional location: 1831 Centinela Ave. Santa Monica, CA 90404 1523 Constance St,, Suite D2 New Orleans, LA 70130

12054 Miramar Parkway Miramar, FL 33025 1900 Emery St., Suite 102 Atlanta, GA 30318 CLOUD 19 3767 Overland Ave., Ste. 103 Los Angeles, CA 90034 310-839-5400 E-mail: info@cloud19.com Web: www.cloud19.com Basic Rate: call for info CONWAY RECORDING STUDIOS 5100 Melrose Ave. Los Angeles, CA 90038 323-463-2175 Fax 323-463-2479 E-mail: Stacey@conwayrecording.com Web: www.conwayrecording.com Basic Rate: call for info DEEPMIX 735 Brent Ave. South Pasadena, CA 91030 323-769-3500 E-mail: brad@deepmix.com Web: www.deepmix.com Basic Rate: call for info

818-508-3303 Fax 818-508-3314 E-mail: scott@aemg.com Web: www.themusiccollective.com Basic Rate: call for info NICOLE DIONNE / PRIMALSCREAM MUSIC Los Angeles, CA 310-478-8227 E-mail: info@primalscreammusic.com Web: https://www.facebook.com/ PrimalScreamMusic Basic Rate: call for info Additional location: 3005 S Lamar Blvd., #D109-366 Austin, TX 78704 RACE HORSE STUDIOS 3780 Selby Ave. Los Angeles, CA 90034 310-280-0175 Fax 310 280-0176 E-mail: duncan@racehorsestudios.com Web: www.racehorsestudios.com Contact: Duncan Clients: Universal Interactive, D3Publishers of America, Trailer Park of Terror Basic Rate: call for info

EASTWEST RECORDING STUDIOS 6000 W. Sunset Blvd.

Hollywood, CA 90028 323-957-6969 Fax 323-957-6966 E-mail: candace@eastweststudio.com Web: www.eastweststudio.com Basic Rate: call for info

RIPTIDE MUSIC, INC. 9469 Jefferson Blvd., Ste. 114 Los Angeles, CA 90066 310-437-4380 Fax 310-437-4384 E-mail: contact@riptidemusic.com Web: www.riptidemusic.com Basic Rate: call for info

ES AUDIO SERVICES 1746 Victory Blvd.

Glendale / Burbank, CA 91201 818-505-1007, 800-880-9112 E-mail: studio@esaudio.com Web: www.esaudio.com Contact: Donny Baker Basic Rate: Call for more info

S3 MUSIC + SOUND 11681 Gateway Blvd.

Los Angeles, CA 90064 310-312-3329 Fax 310-312-8827 E-mail: info@s3mx.com Web: www.s3mx.com Basic Rate: call for info

ENDLESS NOISE 1825 Stanford St. Santa Monica, CA 90404 310-694-8251 E-mail: marycatherine@endlessnoise.com Web: www.endlessnoise.com Basic Rate: call for info FIREHOUSE RECORDING STUDIOS 30 W. Green St. Pasadena, CA 91105 626-405-0411 Fax 626-405-0413 E-mail: jason@firehouserecording.com Web: www.firehouserecordingstudios.com Contact: Jason Upright Basic Rate: call for info FOUNDATION POST 3583 Hayden Ave. Culver City, CA 90232 424-238-0381 Web: www.foundationpost.com E-mail: samantha@foundationcontent.com Contact: Samantha Hart, Creative Dir. Basic Rate: call for info FRIDAY ENTERTAINMENT Sherman Oaks, CA 818-995-4642 E-mail: info@fridayentertainment.com Web: www.fridayentertainment.com Contact: Sam Dress Basic Rate: very competitive GREENWOOD SOUND Van Nuys, CA 818-384-6286 E-mail: greenwoodsound@earthlink.net Web: www.greenwoodsound.com GRIND MUSIC & SOUND 818-565-5565 E-mail: info@grindinc.com Web: www.grindinc.com Basic Rate: call for info HUM MUSIC + SOUND DESIGN 1547 Ninth St. Santa Monica, CA 90401 310-260-4949 Fax 310-260-4944 E-mail: debbi@humit.com Web: www.humit.com Basic Rate: call for info MIND OVER EYE 2221 Rosecrans Ave. Ste. 195 El Segundo, CA 90245 310-396-4663 E-mail: dave@minovereye.com Web: www.mindovereye.com Basic Rate: call for info MUSIC COLLECTIVE, THE 12711 Ventura Blvd., Ste. 110 Studio City, CA 91604

SCREENMUSIC INTERNATIONAL 18034 Ventura Blvd., Ste. 450 Encino, CA 91316 818-789-2954 E-mail: screenmusic@aol.com Web: www.screenmusic.com Basic Rate: call for info SENSORY OVERLOAD MUSIC 818-985-3300 E-mail: license@Sensory-Overload.com Web: www.sensory-overload.com Basic Rate: call for info SILVERDISC PRODUCTIONS 909-996-4224 E-mail: jeff@silverdiscpro.com Web: www.silverdiscpro.com Contact: Jeff Basic Rate: call for info SOTTOVOCE STUDIOS N. Hollywood, CA 818-694-3052 E-mail: info@sottovocestudio.com Web: www.sottovocestudio.com Contact: Shaun Drew Basic Rate: Call for info SOUNDBATH MUSIC & SOUND 310-392-0369 or 310-990-0202 E-mail: garron@soundbath.com Web: www.soundbath.com Basic Rate: call for info STOKES AUDIO RECORDING & POST 19626 Ventura Blvd., Ste. 201 Tarzana, CA 91356 818-855-9759 E-mail: info@stokesaudio.com Web: www.stokesaudio.com Basic Rate: call for info STUDIO CITY SOUND 4412 Whitsett Ave. Studio City, CA 91604 818-505-9368 Fax 818-761-4744 E-mail: eharrison@studiocitysound.com Web: www.studiocitysound.com Basic Rate: call for info SUMMERFIELD MUSIC, INC. 818-905-0400 E-mail: info@summerfieldmusic.com Web: www.summerfieldmusic.com Basic Rate: call for info THRESHOLD SOUND + VISION 2114 Pico Blvd.

Santa Monica, CA 90405 310-566-6677 Fax 310-314-3826 E-mail: micheleb@thresholdsound.com Web: www.thresholdsound.com Contact: Michele Blankenship Basic Rate: call for info

Download at www.musicconnection.com/industry-contacts THUNDER SOUND 3123 S. La Cienega Blvd.

Los Angeles, CA 90016 310-829-4765, Fax 310-315-6399 E-mail: artwright@thunder-sound.com Web: www.thunder-sound.com Contact: Art Wright Basic Rate: call for info TOMCAT ON THE PROWL PRODUCTIONS Studio City, CA 818-533-8669 E-mail: studio@tomcatontheprowl.com Contact: Thomas Hornig Web: http://tomcatontheprowl.com V GROUP, THE 359 21st St. Santa Monica, CA 90402 310-395-0252 E-mail: v@thevgroup.net Web: www.thevgroup.net Basic Rate: call for info VILLAGE, THE 1616 Butler Ave. Los Angeles, CA 90025 310-478-8227 Web: www.villagestudios.com Basic Rate: call for info WALT DISNEY STUDIOS 500 S. Buena Vista St. Burbank, CA 91521 818-560-2731 Web: www.buenavistapost.com Basic Rate: call for info WARNER BROS. STUDIO FACILITIES POST PRODUCTION SERVICES 4000 Warner Blvd., Bldg. 4 Burbank, CA 91522 818-954-2515 E-mail: wbsfpostproductionservices@ warnerbros.com Web: www.wbsound.com Basic Rate: call for info WARRIOR RECORDS 7095 Hollywood Blvd., Ste. 826 Hollywood, CA 90028 E-mail: info@warriorrecords.com Web: www.warriorrecords.com Contact: Jim Ervin Basic Rate: email for information WESTLAKE RECORDING STUDIOS & TECHNICAL SERVICES 7265 Santa Monica Blvd.

Los Angeles, CA 90046 323-851-9800 E-mail: bookings@thelakestudios.com Web: www.thelakestudios.com Contact: Sara Clark Basic Rate: call or e-mail for info WOJAHN BROS. MUSIC 1524-D Cloverfield Blvd.

Santa Monica, CA 90404 310-829-6200 Fax 310-829-6222 E-mail: info@wojahn.com Web: www.wojahn.com Basic Rate: call for info Additional location: Mid-West/Dallas Rep. Lauren McNamara 312-222-9335 E-mail: lworldrep@aol.com ZOO STREET MUSIC 2701 W. Willow St. Burbank, CA 91505 818-955-5268 Fax 818-295-5001 E-mail: oherrera@zoostreet.com Contact: Omar Herrera Web: www.zoostreetmusic.com Basic Rate: contact for rates

FLORIDA CINEWORKS DIGITAL STUDIOS 12054 Miramar Pkwy.

Miami, FL 33025 305-754-7501 Fax 305-754-3850 E-mail: info@cineworks.com Web: www.cineworks.com Basic Rate: call for info Additional location:

N. Miami, FL 33181 305-948-9116 Web: www.comtelinc.com Basic Rate: call for info

ILLINOIS ATOMIC IMAGING INC. 1501 N. Magnolia Ave. Chicago, IL 60622 312-649-1800 Fax 312-642-7441 E-mail: aigar@golan.tv Web: www.atomicimaging.com Contact: Aigar Dombrovskis Basic Rate: call for info Additional locations: New York Contact: Erik Iversen E-mail: erik@atomicimaging.com 312-649-1800 x 5770 Los Angeles Contact: Tim Clark E-mail: Tim@atomicimaging.com 312-649-1800 X 5780 San Juan, Puerto Rico Contact: Luis Ruiz E-mail: lois@atomicimaging.com 312-649-1800 X 5790 SONIXPHERE 445 E. Ohio, Ste. #220 Chicago, IL 60611 312-329-1310 Fax 312-329-1339 Web: www.sonixphere.com E-mail: greg.allen@sonixphere.com WHITEHOUSE POST PRODUCTION, THE 54 W. Hubbard St., Ste. 501 Chicago, IL 60610 312-822-0888 E-mail: jojo@whitehousepost.com Web: www.whitehousepost.com Contact: Jojo Scheerer, Sr. Producer Basic Rate: call for info Additional locations: 530 Wilshire Blvd., Ste. 400 Santa Monica, CA 90401 310-319-9908 E-mail: joni@whitehousepost.com Contact: Joni Wiliamson 180 Varick St., Ste. 1400 New York, NY 10014 212-568-8200 E-mail: lauren@whitehousepost.com Contact: Lauren Hertzberg, Ex. Prod.

21-23 Meard St. London W1F0EY 44-0-207-432-4300 E-mail: Bebe@whitehousepost.com Contact: Bebe Evwaraye Whitehouse At The Glassworks Keizersgracht 477 Amsterdam, 117 DL E-mail: olivier@glassworksamsterdam.nl Contact: Olivier Klonhammer +31-6-55-39-52-31

MASSACHUSETTS D2 PRODUCTIONS 80 Northboro Rd. E. Marlborough, MA 01752 508-485-0300 E-mail: info@d2productions.com Web: www.d2productions.com Basic Rate: call for info SOUNDMIRROR 76 Green St. Boston, MA 02130 617-522-1412 fax: 617-524-8377 Web: www.soundmirror.com

NEVADA DIGITAL INSIGHT RECORDING STUDIOS 2810 S. Maryland Pkwy., Ste. C Las Vegas, NV 89109 702-792-3302 E-mail: digitalinsightrecording@gmail.com Web: www.digitalinsightrecording.com Basic Rate: call for info

1900 Emery St., Suite 102 Atlanta, GA 30318 404-549-6755, Fax 404-549-6753

LEVY PRODUCTION GROUP 5905 S. Decatur Blvd., #1 Las Vegas, NV 89118 702-551-4178 E-mail: mike@levyproductiongroup.com Web: www.levyproductiongroup.com Basic Rate: call for info

COMTEL TELEVISION PRODUCTION FACILITIES 14901 N.E. 20th Ave.

ANIMATED PRODUCTION SERVICES E-mail: dcpinfo@digitalcinemaprint.com

1523 Constance St., Ste. D2 New Orleans, LA 70130 504-733-8353 Fax 504-733-8351

NEW YORK

Web: www.digitaltofilm.com Basic Rate: email for information CP DIGITAL 102 Madison Ave. New York, NY 10016 212-328-1111 E-mail: ffiore@cpdigital.com Contact: Franco Fiore Web: www.cpdigital.com Basic Rate: call for info CHELSEA POST All Mobile Video 221 W. 26th St. New York, NY 10001 212-727-1234 E-mail: contact@amvchelsea.com Web: www.amvchelsea.com Basic Rate: call for info CINERIC 630 9th Ave., Ste. 508 New York, NY 10036 212-586-4822 Web: www.cineric.com Basic Rate: call for info DIGITAL ARTS 130 W. 29th St., 8th Fl. New York, NY 10001 212-460-9600, Fax 212-660-3600 Web: www.digital-arts.net Contact: Axel Ericson Basic Rate: call for info DRAGON LICKS 137 5th Ave., 3rd Fl. New York, NY 10010 212-533-3443 E-mail: info-ny@yessian.com Web: www.dragonlicks.com Basic Rate: call for info Additional location: 33117 Hamilton Ct. Farmington Hills, MI 48334 248-553-4044 E-mail: info-detroit@yessian.com 1222 5th St. Santa Monica, CA 90401 310-871-7621 E-mail: info-la@yessian.com Schulterblatt 58 20357 Hamburg, Deutschland +49-40-40185159 E-mail: info-germany@yessian.com

E-mail: NewYork.info@primefocusworld.com Web: www.primefocusworld.com Basic Rate: call for info Additional locations: 1800 N. Vine St. Hollywood, CA 90028 323-461-7887 E-mail: LosAngeles.info@primefocusworld. com 1205 Melville St. Vancouver, BC V6E 0A6 Canada +1 604 733 7030 E-mail: Vancourver.info@primefocusworld.com 160 Great Portland St. London, W1W5QA+44 207 268 5086 E-mail: London.info@primefocusworld.com Mainframe IT Park Building H, Royal Palms Goregaon (East) Mumbai, 400065 +91 22 4209 5000 E-mail: Mumbai.info@primefocusworld.com Room 516 PE Building Haidian Bei ER St., Haidan District, Beijing 1000080 P.R. China +86-188-0120 7700 E-mail: Beijing.Info@primefocusworld.com PURPLE COW POST 516-443-1058 Web: www.purplecowpost.com Contact: Brain Kushner Basic Rate: call for info TOWN & COUNTRY CREATIVE 917-287-6575 E-mail: rosanne@townandcountrycreative.com Web: www.townandcountrycreative.com Contact: Rosanna Herrick Basic Rate: call for info WORLDS AWAY PRODUCTIONS, LTD. 38-47 9th St. Long Island City, NY 11101 646-543-8005 E-mail: info@worldsaway.tv Web: www.worldsaway.tv Basic Rate: call for info

PENNSYLVANIA

DUART FILM & VIDEO 245 W. 55th St. New York, NY 10019 212-757-4580 E-mail: info@duart.com Web: www.duart.com Basic Rate: call for info

FERRALLI STUDIOS 333 State St., Ste. 101 Erie, PA 16507 814-746-0388 Web: www.ferralli-studios.com Basic Rate: call for info

MAGNETIC POST PRODUCTION 4 Marshall Rd. Wappingers Falls, NY 12590 212-598-3000 Fax 212-228-3664 E-mail: contact@magneticimage.com Web: www.magneticimage.com Basic Rate: call for info

CONTINENTAL FILM PRODUCTIONS 1466 Riverside Dr. Ste. E Chattanooga, TN 37406 423-622-1193 Fax 423-629-0853 E-mail: info@continentalfilm.com Web: www.continentalfilm.com Basic Rate: call for info

MERGE CREATIVE MEDIA 2 West 46th St., Penthouse New York, NY 10036 212-727-2540 E-mail: info@mergecreativemedia.com Web: www.mergecreativemedia.com Basic Rate: call for info

HOUSE OF BLUES STUDIOS Encino, CA, Nashville,TN, Memphis, TN 818-990-1296, 615-777-9080 E-mail: gary@houseofbluesstudios.com Web: www.houseofbluesstudios.com/memphis Basic Rate: call for info

MOVING PICTURES 145 Avenue of the Americas, 7th Fl New York, NY 10013 212-924-7364 E-mail: info@mpny.tv Web: www.mpny.tv Basic Rate: call for info

POSTDIGITAL INC. 509 Craighead St., Ste. 110 Nashville, TN 37204 615-584-0734 Web: www.postdigital.us Contact: Perry Trest Basic Rate: call for info

POST FACTORY 12 Desbrosses St. New York, NY 10013 212-627-1662 Fax 646-237-2200 E-mail: chris@postfactoryny.com Web: www.postfactoryny.com Contact: Chris Peterson Basic Rate: call for info

STUCK ON ON 516 Navasota St. Austin, TX 78702 512-535-4740 E-mail: info@stuckonon.com Web: www.stuckonon.com Basic Rate: call for info

Additional location: 304 Hudson St., 6th Fl. New York, NY 10013 212-627-2330 PRIME FOCUS 345 Hudson St., 13th New York, NY 10014 212-292-3333

TENNESSEE

TEXAS

VIDEOWISE GROUP 2245 Keller Way, Ste. 250 Carrollton, TX 75006 972-418-9600 x101 E-mail: info@videowisegroup.com Web: www.videowisegroup.com Basic Rate: call for info

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– RANDALL D. WIXEN

Got No Publisher Yet? Here’s What You Can Do… T

he last few years have been really tough for songwriters and publishers. Plummeting record sales have decimated what was once a major source of income, and streaming and other music delivery models have not yet been monetized appropriately so that creators can be compensated fairly.

Music is “consumed” more than ever, and yet the rewards accorded to its creators are hugely diminishing.

As this has been happening, there is also a contraction in the number of companies competing to sign writers and which are available to provide the basic back-room administration services which are needed. The cost of handling administration and collecting your money hasn’t dropped, yet the income you may be projected to earn has. Until you reach a certain level of success, getting someone interested in helping you to promote your songs and to handle the mundane administrative tasks that need to be done to protect your work is harder than ever. Bluntly, companies don’t want to work with writers who aren’t yet raking in the dough, or who don’t have three co-writes on the next BIG NAME HERE album.

Here then, are some of the basic things to do until you can find the appropriate business partner to help develop, exploit and monetize your work.

(or register) all of your songs. By providing information about each song title, including the writer(s), the publisher(s) and each party’s shares, you accomplish two things. First, you create a pathway to get paid if your songs get publicly performed. Second, since the registration information is available online to the public, it makes it possible for potential users of your songs to quickly find you. Registering your songs with your chosen PRO online is easy.

3. Educate yourself. Buy a good book on music publishing, or take a course at a local college. Invest time and money in yourself.

You’re a lot harder to take advantage of if you

“You’re a lot harder to take advantage of if you know what you’re doing.”

1. Copyright your songs. This isn’t that hard to do. Go to http://copyright. gov and then click on “Register A Copyright.” This takes you to the eCO registration system. There are tips, FAQs and tutorials.

You can pay for the copyright with the Pay.gov system using a credit or debit card, or ACH transfer. The fee per registration, depending upon factors such as number of authors and claimants ranges from $35 to $55. In some cases, more than one work may be claimed on a single registration.

2. Join a performing rights organization (PRO). This is how you get paid when your songs get publicly performed on the radio, Internet or TV. The big two are ASCAP and BMI, which are both non-profit organizations operating under government supervision (consent decrees). Two smaller choices are SESAC and GMR, which are both for-profit organizations.

ASCAP is the only organization governed by a board of writers and publishers elected by its members. Before you choose one ask around and get some advice from other writers.

You will need to join the organization both as a writer member and as a publisher member.

This has to do with a very old convention where the writer most typically did not own his or her own song. The traditional payout is half to the writer and half to the publisher. So if you earn $100 for radio airplay, you will get $50 paid to Jane Smith, and another $50 payable to your own publishing company, Jane Smith Songs.

Once you join the PRO, you will have to clear 70 78 November 2014

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know what you’re doing, or what you should be charging for a license, or what really is “standard” and what isn’t. You will also be more ready for the next steps, such as issuing mechanical licenses (for when and if people actually buy records or downloads of your songs) and things such as handling foreign collections when your work has become popular enough to become available in other countries.

4. Get involved. If you live in a town with a major music business presence, join the local organizations that are involved with songwriting and music publishing issues, such as NARAS (the National Academy of Recording Arts and Sciences), the folks behind the Grammys, the NMPA (the National Music Publishers Association), the AIMP (Association of Independent Music Publishers) and the CCC (California Copyright Conference). The last two groups put on educational lunches and dinners for a modest fee. Often, the lawyer sitting next to you at one of these seminars is getting “continuing legal education” credit so that he can learn about something that he can use in his music practice. ASCAP sponsors an annual “I Create Music” Expo replete with speakers and information that not only provide practical business information, but also provide opportunities for creative hook-ups and feedback.

5. Get an interim structure in place. Until you’re hot enough to attract real attention, affiliate with the HFA (Harry Fox Agency) for basic collection functions such as mechanical licenses and royalty collection. HFA was formed in 1927 by the NMPA, although they are now separate organizations. They also have reciprocal representation agreements in place with more than 30 foreign collecting societies, so they can provide a basic safety-net for overseas mechanical income. HFA are also able to help you collect monetized YouTube videos that use your music if you “opt in” to that service.

6. Build awareness. Make videos of your songs and post them on Youtube, etc.

Send review copies to Music Connection. com and other similar publications and bloggers that publicly review new music.

Subscribe to a tip sheet (New On The Charts or Music Row’s Row Fax) to learn who is looking for songs and who is open to new artists. Play lots of gigs. Make a professional looking website so that people can find you and hear your music.

Make friends with other musicians further along in their careers. Maybe they’ll bring you in on a project or recommend you to a producer or a label. Or collaborate with you.

Record companies don’t really scour the clubs anymore looking for hot new talent to shower record deals and big advances on.

So it is crucial to build a grassroots following starting with your friends (assuming they like you) and then your friends’ friends, and so on.

It’s a tough world out there, with lots of competition for attention, and not just from within the music world. You’re competing with video games, film, TV, the Internet, sports, concerts and devices for attention and dollars. It isn’t getting any easier for talent to break though. But develop a thick skin, keep on pushing and take some of these basic steps to learn more about the business and to protect the value of your work.

RANDALL D. WIXEN is a veteran music publisher whose company Wixen Music Publishing has an office in Los Angeles and a sister company, Wixen Music U.K. Ltd., in London. The companies administer the song catalogs of many top artists, ranging from George Harrison, the Doors, Neil Young and Tom Petty, to the Black Keys, Andrew Bird and Fitz & the Tantrums. Wixen has just issued the third edition of his book The Plain And Simple Guide To Music Publishing. It contains an array of new topics pegged to the ever-changing music industry landscape. For complete information, visit http://wixenmusic.com.

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