S E S A C Welcomes
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CONTENTS
Informing Music People Since 1977 3EPTEMBER s 6OL s .O
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Florida Georgia Line MC’s exclusive interview shows you how this record-breaking duo have been able to take their country/hip-hop hybrid straight to the top of the charts.
By Dan Kimpel Photo courtesy of Republic Nashville
44 LP The singer/songwriter discusses the career choices that have made all the difference. By Ellen Woloshin
Departments 08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 26. Signing Stories 28. Song Biz 32. FilmsTVsTheater 34. Mixed Notes
Bad Social Media Moves Actively growing your fanbase via social media is something all artists need to do, but are some activities counterproductive? MC elists a diverse group of experts who provide key insights and advice about what works––and what does not.
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By Bernard Baur
Reviews
52
Directory of Everything Promo Compiled By Denise Coso
20. Producer Crosstalk: Christopher Tyng . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Greg Hammer, Red Bull Records . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Lili Haydn . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 62. Tip Jar: Increase Your Merch Sales! . . . . . . . . . . . . . . . . . . . By Bobby Owsinski 4
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45. Album Reviews 46. New Music Critiques 48. 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
Ted Jamison intern@musicconnection.com Carter Woghan 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. Founded by: J. Michael Dolan / michael@jmichaeldolan.com
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– JONATHAN WIDRAN
DAISY ROCK GIRL GUITARS SOUNDCHECK STUDIOS http://soundcheckstudios.net http://daisyrock.com
Serving Fellow Musicians: A hard rock drummer former drummotto departThe World’s Only “Girl Guitar” Company: Drivenand by its branding ment manager SIR, David LeeTotally launched Soundcheck as a 24“Lighter Weight.atSlimmer Neck. Inspiring,” the VanStudios Nuys, CA-based hour lockout rehearsal in 2005. empty warehouse to Daisy Rock Girl Guitarsfacility —launched by Converting heavy metalan rock bassist Tish Ciraa dynamic 28 room —ranging in size from small drum to rooms of 10-ft volo in 2000—is thefacility original “girl guitar” company dedicated supplying x 10-ft to full size band rooms of 20-ft x 25-ft a full showcase room, each and marketing professional-quality guitars fortofemales of all ages. Early on, with a Ciravolo 17-ft ceiling —he developed safe environment with a when said, “The boys clubaiscomfortable, over,” she meant for everyone—from creative vibe. In old addition to minimal “noisebleed” between rooms (thanks eight to 12 year girls drawn to Daisy Rock’s yellow, purple, pink and to six inches of to airspace between two walls sound board and blue models adult women drawn to thewith lighter-weight andinsulation slimmer neck profiles (single cutaways, double cutaways). “In 2000, when we started, approximately four percent of the guitar playing population was female, and now that’s up to 25-30 percent,” she says. “It’s great to see how our guitars have inspired women of all ages to play.”
Daisy Rock Girl Guitars recently signed the Sledge Grits Band to the company’s firstever exclusive artist endorsement agreement at their Van Nuys, CA headquarters. drywall), theSledge North l-r: bo-Pah Sledge, Keiko Sledge, Tish Ciravolo, Ella Sledge, and Mimi
Hollywood facility has central A/C and heat in all rooms, secure gated parking, closed circuit TV monitoring and easy load in/out. It was also one of the first studios in L.A. to offer free wireless Internet access.
The Revamped Showcase Room: The crown jewel of Soundcheck Studios has long been Room #3, a 30-ft x 40-ft space with a 20-ft x18-ft stage and drum riser. It has been used by everyone from Idina Menzel to Filter as well as members of Rage Against the Machine. With a recent extensive remodeling, it has evolved into a live rehearsal and showcase room, completed with a full concert style, 4-way PA system. The room is now fit for optimal audio and video quality, with black velvet curtains wrapping around the walls to give the sound engineer A Wide Range of Fans complete control. It has and Endorsees: The company, which launched as a subsidiary LED lights and of anSchecter avail- Guitars and is now co-owned and distributed by Alfred Music, able Pro Toolshas rig.over The600 endorsees from across the musical spectrum— including many up-and-comers from ages 14-16 as well as established dynamically outfitted room names like Vickyprivate Peterson includes a new full from the Bangles (who has a Bangles Signature Model), Lisa Loeb, Avril stall Lavigne, Suzi Quatro, Miley Cyrus and 76-yearbathroom with shower old Rock andfor Roll Hall of Famer Wanda Jackson. Legendary fans include and is ideal industry Jimmy Page, Robert Smith (the Cure) and Nancy Wilson (Heart). showcases. Red Grand Hot Love and Rock Candy: Ciravolo and Daisy Rock are a popular The Re-Opening: annual at the NAMM show, where their exhibit sports pink fur walls, Thoughfixture Soundcheck spotlights and chandeliers. Their 2014 rollouts include the Pixie Cupid in Studios has been open Red Hot Love, featuring heart-shaped sound andRe-Opening. an angel flying during remodeling, it will asoon be celebrating itshole Grand Lee at the “The 12th building, fret; the Sophomore Butterfly which has a butterfly in says, now more than ever,Guitar, has a musical artistic vibe. We flightainlay and butterflies that fly up the and two Rockroom Candy had graffiti artist do mural artworks onneck; the doors of each andgraphic in our guitars (the red, and blue Guitar Girl andinto Skulls and Roses) new lounge area.white We moved theSuper vending machines the walls themwhose combination of chairs colors and and avines with skulls make it the choice of selves, added lounge charging station. We ultimately want every goth girl. Soundcheck to become a hotspot for many up-and-coming artists, and a springboard for their success.” Contact Daisy Rock 1-877-MY DAISY (877-693-2479) Contact Soundcheck Studios, 818-823-8774 8
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Christos Desalernos
Scott Saldinger
Christos Desalernos has been named Senior Regional Sales Manager for Shure Incorporated’s Western U.S. region. Desalernos has worked for the last 15 years at Furman Sound as an Engineer Technician, an Account Executive, and, for the past nine years, as Director of Division Sales. He has an Electrical Engineering degree from IT Technical Institute Hayward. In his new position as Senior Regional Sales Manager for the Retail Group, Christos will manage the retail business for Shure, including relationships with Guitar Center and Musician’s Friend. For more information on this appointment, contact Sarah Kinsella of Formula PR, Inc. at kinsella@formulapr.com.
Scott Saldinger has been named Vice President of Strategy & Vision Management at Stephen Arnold Music, a Sonic Branding and home of The Vault production music library. Saldinger will oversee and lead the company’s business development across an increased range of platforms. He brings over two decades of experience in media production, marketing and sales to his new post at Stephen Arnold Music. A proven team builder who has managed the growth of multimillion dollar portfolios in broadcast television, online, mobile, and out of home marketing media, Saldinger comes to Stephen Arnold Music from KXAS-TV NBC5 in Dallas, where he was Business Development Account Manager. Contact ray@rightwordmedia.com.
Joshua Peterson
Mika El-Baz
Biamp Systems, a provider of networked media systems, has announced the appointment of Joshua Peterson as an Area Manager in North America. Based in Minneapolis, Peterson will be responsible for leading and accelerating the growth of the expanding Biamp business for Northern Central North America. In his new role, Peterson will lead the development and execution of Biamp’s core business strategy, spearheading market development, supporting the company’s integrator partners, and building awareness for Biamp’s every day and enterprise-grade audio solutions. Peterson joins Biamp with over 12 years experience in the pro AV and multimedia industries Contact amanda.roe@biamp.com for more information.
Mika El-Baz has been named Executive Vice President, West Coast / Executive Vice President, Publicity, RCA Records. In her expanded role, El-Baz will be heading up the RCA Records West Coast office, as well as identifying new opportunities for the label and its superstar artist roster. In addition, she will continue her role as Executive Vice President, Publicity, RCA Records where she will continue overseeing, designing and implementing specially-crafted media campaigns and artist development strategies for A-List, breakthrough and developing artists. El-Baz will continue to report to Tom Corson, President and COO, RCA Records and be relocated to the company’s Los Angeles offices. Contact Meghan.Kehoe@rcarecords.com.
Kurt Howell
Antony Gunter
Focusrite has appointed industry veteran Kurt Howell to the position of RedNet Eastern Regional Manager. RedNet is Focusrite’s range of modular Ethernetnetworked interfaces based around the industry-standard low-latency Dante® audio networking system. In his new position, Howell, who is based in Nashville, will work closely with prospective RedNet customers in conjunction with product specialist Ted White to continue to drive sales with Eastern U.S. dealers, contractors and reps. Howell’s involvement will help RedNet continue its ongoing penetration as the standard for a networked audio solution for recording studios, higher education, television production, post-production, and live sound installations. Contact info@clynemedia.com.
Orange Amplification has announced the promotion of Antony Gunter to Sales Director with immediate effect. This new role includes global sales responsibilities and day-to-day management of U.K. and U.S. sales teams. Gunter joined Orange Amplification in June 2004 as U.K. Sales Manager. In the last 10 years his role has changed and expanded from European Sales Manager to International Sales Manager and now Sales Director. During this period he has played a significant part in the massive growth in international sales that has earned Orange Amplification three Queens Awards for Enterprise: International Trade in six years. For further information on Orange Amplification, reach out to david@armarketing.co.uk.
Lee Boylan
Rob Guthrie
Multi-instrumentalist, producer and engineer Lee Boylan has joined the PreSonus Europe Ltd. team as a product specialist. Boylan will demonstrate PreSonus products to dealers/distributors in Europe, the Middle East and Africa; provide technical support; and assist PreSonus distributors in the region. In addition to his responsibilities with PreSonus, Boylan operates a recording studio and works as a livesound engineer in his native city of Dublin, Ireland. He had a No. 1 album in Ireland with Fight Like Apes and has played in a wide variety of other bands, including drumming with John Illsley (ex-Dire Straits). Boylan also holds a Masters degree in Music and Media Technology. Contact soppenheimer@presonus.com.
SONGS Music Publishing has announced the promotion of Rob Guthrie to Head of Operations. Guthrie will continue to oversee the Copyright, Administration and Royalty departments at SONGS, while adding Business Affairs, Systems, and International Society and Sub-Publisher Relations to his duties. He will now oversee all internal legal processes including the negotiation of digital deals. He will also have operational responsibility for the company’s systems, including its proprietary metadata and creative licensing platform SONGsearch, yourSONGS, a creative management portal for the company’s songwriters, and the company’s soon-to-launch proprietary royalty processing technology. Contact jv@spinlab.net.
Senior Regional Sales Manager Shure Inc.
Area Manager, N. America Biamp Systems
RedNet Eastern Regional Manager Focusrite
Product Specialist Presonus
VP of Strategy & Vision Management Stephen Arnold Music
Executive VP, West Coast / Publicity RCA
Sales Director Orange Amplification
Head of Operations SONGS Publishing
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– BARRY RUDOLPH barry@barryrudolph.com
ELECTRA GUITARS UPDATES INVICTA The Electra Guitar updated and upgraded Invicta electric guitar is now available worldwide factory-direct or through authorized distributors and dealers. The cutaway guitar body is made of ash and has a carved, quilted maple top. The Invicta Trans Ruby (pictured) has a medium C-shaped maple set-in neck with a 12-inch radius rosewood fretboard possessing 22-jumbo frets and pearl inlays. You get a GraphTech Tusq nut, and a double-acting truss rod. Chrome hardware includes the Electra tuning machine heads by Hipshot, large strap buttons and a TonePros bridge with stop tailpiece system. The big news is the upgrade: the Five Position Coil Linkage System uses two humbucking pickups and two volume controls making up to nine pick-up combinations and tones readily available. The updated Invicta sells for $1,429 MSRP (or $899 MAP). http://electraguitar.com/pages/electra-invicta
SOUND TOOLS CABLE TESTERS EVENTIDE DDL-500 DIGITAL DELAY The DDL-500 is an Eventide digital delay line for 500-series racks. The DDL-500 features up to 10 seconds of mono delay time using a 192-kHz sample rate. It includes analog goodies such as: soft saturation clipping, a low pass filter, feedback control, insert loop, relay (hardwired) bypass, and +20 dB of output boost. The DDL-500s digital circuitry is kept at a minimum—just the chips necessary for delay. Delay times can be varied smoothly using the control knob or by connecting an LFO to the remote input. You can dial in short delay times to be used for comb filtering and flanging effects, and/or modulate delay time—old-school style—with a function generator (LFO). The DDL-500 is also capable of extremely long delays (up to 160 seconds at a 16 kHz sample rate) for capturing long passages for lo-fi looping. From short delays for double tracking, to spacey long delays, swept delay trickery and tape echo style effects, the DDL-500 brings it all in a single 500 series slot. http://eventide.com
Sound Tools has an expanded line of problem solvers for the itinerant recording engineer, live sound engineer or audio technician. I received three of the most useful tools in the Sound Tools line: the XLR Cable tester, the 1/4-inch TRS/TS cable checker, and the NL4 loudspeaker cable test system for cables using Neutrik’s Speakon NL4 connectors. All three of these cable checkers test the entire length of a cable without having to remove or unbundle it from its installed position or from within a multi-cable snake. Especially good for installed sound systems, recording studio wiring, and troubleshooting complex live sound setups, the Sound Tools system is a two-piece system: the battery powered Sender unit and the Receiver or “Sniffer” unit. Like all the Sound Tools testers, the XLR Sniffer/Sender pair are both made of lightweight aluminum with the XLR Sender, looking like a barrel connector with a standard female XLR connector, attaches to the male end of a suspected microphone or line XLR cable —even hundreds of feet long. The Sniffer is connected to the other end of the cable and instantly reads its condition using combinations of the A, B and C LEDs. Sound Tools XLR Sniffer/Sender Cable Tester sells for $45. A very handy device you’ll want if you’ve ever “rooted” around filthy recording studio floors or live stages looking for bad XLR cables. Contact Rat Sound Systems at 888-545-8271. http://soundtools.com
SAMSON EXPEDITION XP106W PORTABLE PA The Samson Expedition XP106W expands their line of portable PA systems. I have previously reviewed the Samson Expedition Express in these pages and the XP106W is like a big brother at about twice the weight. Also pole-mountable, the XP106W has a rechargeable battery for up to 20-hours of continuous operation and its Class-D amplifier supplies up to 100-watts of audio power to the 6-inch woofer and 1-inch dome tweeter. I especially like the rear-panel’s built-in 4-channel mixer for dialing in just the right combination of up to four input sources. There are inputs for XLR microphone, keyboard or direct guitar; 1/8-inch and 1/4-inch line input jacks; an included Stage XPD1 2.4GHz Digital Wireless microphone system; and the Bluetooth® input mates to any BT enable device. The rear panel also has an on/off switch, battery level LED indicator, a connector for the included battery charger, and a Music/Speech switch for optimized speech (PA) or music playback. An impromptu audio/video presentation in a small conference room is the perfect application for the XP106W. An assistant can play music from his Samsung phone over Bluetooth and fade the music level up/down remotely on cue from the presenter. Next the XP106W provided the day’s music background for a garage sale and it is nice not to have to find power for it out on my driveway. Occasionally I used the handheld mic to announce bottom line “take it away specials!” Samson Technologies Expedition XP106W Portable PA is a modern approach to setting up a music sound system/PA wirelessly with little effort. It sells for $299.99 MSRP. http://samsontech.com/samson/products/portable-pa/expedition-rechargable/xp106w
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– BARRY RUDOLPH barry@barryrudolph.com
FOCUSRITE ITRACK DOCK STUDIO PACK Focusrite's iTrack Dock Studio Pack—when paired with a 4th generation iPad, iPad Mini, or iPad Air—is a complete recording studio you can easily carry in a small backpack and record anywhere, any time. The Studio Pack comes with Focusrite's iTrack Dock: two Focusrite Scarlett microphone pre-amps (XLRs), two line inputs and instrument direct input. There are balanced TRS main monitor outputs, stereo headphone output jack, plus a USB port for connecting class-compliant MIDI instruments/controllers. The Pack also includes a Studio CM25B side-address condenser microphone, a professional stand mount bracket plus a 3-meter XLR mic cable. I found this compact microphone to be perfect for recording vocals or acoustic guitar. You can record in stereo with the iTrack Dock using Focusrite's 24-bit/96kHz A-D/D-A converters and enjoy latency-free monitoring with the included HP60B Studio closed-back headphones. With its built-in Core Audio driver, the iTrack Dock works with any Core Audio app like GarageBand, Cubasis, Auria or the included Tape app by Focusrite. I recorded a direct guitar connected to Input 1 and a vocal using the CM25B mic in Input 2. There is plenty of gain to record the quietest of sources as well as when my singer went turbo loud after warming up. Returning to my studio for basic editing in the Tape app, I plugged the iTrack Dock directly into a pair of Genelec 8010A’s powered monitors; the onboard volume control has plenty of range to crank it up. If you have an iPad and want a complete portable recording studio/DAW system ready to go, the Focusrite iTrack Dock Studio Pack is the one. It sells for $299 MAP. http://focusrite.com
FABFILTER PRO-G GATE/EXPANDER/DUCKER PLUG-IN FabFilter has updated their Pro-G gate/expander plug-in to include “ducking” capability. Ducking works like an inverted gate—when the threshold is crossed, the signal itself is ducked down. Using its side chain input, a typical application of ducking is to automatically lower the level of a musical background track when a voice-over starts, and fade the level back up again when the voice-over stops. Ducking can also be used to achieve the popular “pumping” effects used in Electronic Dance Music. I’ve used it to duck only the sound of the snare drum when it is (normally) heard in the overhead microphones on a live kit recording. I did this to remove the snare’s tone in the overheads when I replaced the snare drum track with samples. FabFilter Pro-G is the best gate/expander I have in my Pro Tools 11 plug-in folder. It has a great GUI, expert side chain signal conditioning, and precise metering—you get a constant, graphical display parading across the front of the GUI. It shows continuously the action of the gate and its affect on the audio. FabFilter Pro-G is available $174 MSRP download and works in both Windows and Mac OS X in 64 and 32-bit, VST and VST 3, Audio Units, RTAS, AudioSuite and AAX 64 Native. http://fabfilter.com/shop
YAMAHA MOTIF XF7 40TH ANNIVERSARY WHITE EDITION The all-white Motif XF Music Production Synthesizer celebrates the company’s 40th anniversary of manufacturing synthesizers and would be a dream to own. This sleek white finish is ideal for performers seeking the spotlight or composers desiring a clean, modern design. The Motif XF white edition includes deep, built-in computer integration with multiple DAW and soft synth remote templates. The award-winning Motif XF comes with 741 MB of internal Wave ROM, including detailed digital recreations of two Yamaha acoustic grand piano sounds, acoustic instruments, vintage synths and hip-hop sounds in demand by today’s producers. Sturdy front panel knobs and sliders allow for instant sound-shaping possibilities. The Category Search function makes it easy to navigate the controls and comes with 1,664 instrument voices and 97 drum kits. The Motif XF series in white MSRP pricing: Motif XF8 $4,039, the Motif XF7 goes for $3,539 and the Motif XF6 is $2,999. http://4wrd.it/MOTIFXF40
GENELEC 8010A ACTIVE MONITOR The Genelec 8010A Active Monitor is the newest and smallest member of their 8000 Series of monitors widely used in high-end professional audio, mastering, post-production and broadcast studios around the world. The Genelec 8010A starts with a balanced audio XLR input, a 3-inch bass driver, 3/4-inch tweeter both driven by two 25-watt Class-D power amplifiers, one for each driver. The electronic crossover frequency is set to 3kHz and there is a set of rear panel dip switches to select different amounts of bass tilt as well as the Desktop Switch for a -4dB roll off at 200Hz when using the monitors directly on your desktop as I used them. The 8010As have a selectable Intelligent Signal Sensing circuitry that saves energy by automatically putting the monitor to sleep when no audio signal is present. I also liked the built-in IsoPod™ or Isolation Positioning/Decoupler that tilts the monitors up or down and decouples them from the desktop surface. The pair of 8010As sent for review went to work right on the desktop of my project studio DAW desk on either side of my 22-inch flat panel DAW monitor. They plug straight into the AC mains without any pesky wall-warts and their low profile didn’t BARRY RUDOLPH is a recording engineer/mixer who interfere with my main monitors on stands in front of my desk. has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat The 8010A is a cost-effective way to get the sound of Genelec Benatar, Rod Stewart, the Corrs, and more. Barry has his in a monitor speaker ideal for small rooms. own futuristic music mixing facility and loves teaching audio engineering at Musician’s Institute, Hollywood, CA. He is a The 8010A Active Monitor sells for $440.00 each. lifetime Grammy-voting member of NARAS and a contributhttp://genelecusa.com ing editor for Mix Magazine. http://barryrudolph.com 12 September 2014
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BOOK S T ORE
Build Your Studio on a Budget
Artist Management for the Music Business By Paul Allen (paperback) $37.95
This 3rd Edition features key industry insights, exclusive planning guidance, management tools and strategies for a successful career. Perfect for both the new or experienced artist manager, the book presents the reader with over a dozen case studies, lessons and contract examples to provide a focused look at managing artists’ careers.
Glow: The Autobiography of Rick James By David Ritz (hardcover) $26
Learn how to affordably treat, wire, and build your home studio with Home Recording Studio (2 nd Edition), and learn studio-building secrets from the pros with The Studio Builder’s Handbook, book and DVD.
Visit alfred.com/build-a-studio
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Rick James and acclaimed music biographer David Ritz met in 1979 in Marvin Gaye’s studio while Ritz was interviewing Gaye for a biography. Intrigued, James urged Ritz to interview him, too, for a biography. Decades of those interviews and research make up this new book, a posthumously published memoir, in James’ own words, of the tumultuous life of the disco-age music superstar.
Social Media Promotions for Musicians By Bobby Owsinski (paperback) $29.95
The author reveals a host of online insider tips and tricks that will help you gain more fans and followers, increase your views and grow your ticket and merch sales. Social Media Promotions for Musicians shows artists, bands, engineers and producers the latest techniques and strategies to increase your online presence more effectively and efficiently. The book covers YouTube, Facebook, Twitter, Google+, blogs, Pinterest, bookmarking sites, websites and newsletters.
Smell of Death
By Bruce Duff (paperback) $16.95 Here’s a realistic and hard-boiled memoir—conveyed in novelistic style, present-tense—from musician, producer, manager, rock journalist (Music Connection), and indie label executive Bruce Duff. From playing with the Angry Samoans’ Jeff Dahl, the Dead Boys’ Cheetah Chrome and the infamous GG Allin, to running Triple XXX Records and writing for the most appropriate publications known to the genres, The Smell of Death is an unusually engrossing read from someone who’s lived the life.
The Art of Noise
By Daniel Rachel (paperback) $21.99 Here’s a glimpse into the process of songwriting through a collection of interviews with some of the world’s greatest songwriters, including Sting, Lily Allen, Jimmy Page, Annie Lennox and Ray Davies. As a musician himself, Rachel brings a depth of understanding that allows him to coax complete truthfulness and thoroughness from the songwriters, allowing for a frank and revealing glimpse into their respective styles and processes of songwriting.
Death Punch'd: Surviving Five Finger Death Punch’s Metal Mayhem By Jeremy Spencer (hardcover) $26.99
Jeremy Spencer, drummer and cofounder of Five Finger Death Punch brings us an autobiography from a small-town boy who rose to rock fame and nearly destroyed it all for a good time. Written in Spencer’s mockingly immature voice, Death Punch’d is an account of the group’s origins and a tale of addiction, recovery and the tensions that result in the music fans love.
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– JONATHAN WIDRAN
HFA
http://harryfox.com “Great Consolidator of Mechanical Rights:” Founded in 1927 by its namesake who worked for the Music Publishers Protective Association, The Harry Fox Agency (HFA) has for decades been the nation’s leading provider of rights management, licensing and royalty services for the music industry. With over 48,000 music publishing clients, the New Yorkbased HFA issues the largest number of mechanical licenses for the use of music in both physical and digital distribution formats and offers a wide range of licensing, collection, distribution and royalty compliance services to its affiliated publishers. HFA also presents publishers with licensing opportunities for new products and services to help maximize the value of their publishing catalogs. CEO Michael Simon says, “HFA is committed to transparency and the demystification of what many ‘civilians’ often view as a complicated process. As an expert in licensing, HFA is interested in making licensing more effective and efficient for its publishers as well as music distributors.”
Tech Innovator: The organization leverages rights management expertise and state-of-the-art technology to create market driven licensing and royalty administration solutions. As a technology innovator, HFA is leading the industry in establishing global data standards and is a founding member of the Digital Data Exchange (DDEX). Accelerated Rights Management: Slingshot (http://hfaslingshot.com) was launched in late 2009 to help digital music providers manage the licensing process. It includes a suite of information management and tech solutions designed to streamline the end-to-end licensing and royalty process for music and entertainment companies including record labels and digital distributors. Slingshot’s goal is to accelerate market entry for clients and allow them to focus on their core businesses. Clients include many of the largest digital streaming services in the U.S. D.I.Y Friendly: HFA serves the D.I.Y. market with Songfile (http:// songfile.com), the comMICHAEL SIMON pany’s fast and easy-touse online mechanical licensing tool that allows the public to search through millions of songs and purchase licenses. Songfile may be used to obtain licenses for physical and digital formats such as permanent digital downloads, ringtones and interactive streams. Users pay a low per-song processing fee and royalties for licenses, which are set at the current U.S. statutory rate. Contact HFA, clientservices@harryfox.com 16 September 2014
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DAVID GOGGIN
Global Positioning Services Expands Roster GPS has announced the signing of Los Angeles-based producer, engineer and mixer Rob Kinelski (Ed Sheeran, Common, Rihanna). Kinelski has worked consistently in the industry for a decade, amassing an extensive discography with a range of notable artists. In 2012, he served as engineer on Justin Bieber’s Believe and Nas’ “Life is Good,” which he also mixed. Kinelski has collaborated extensively with producer No ID, engineering and mixing Common’s critically acclaimed The Dreamer, The Believer, and engineering projects including Rick Ross’ Teflon Don and a track on Rihanna’s Talk That Talk. Contact AD@ globalpositioningservices.net for more information.
“Weird Al” Has Mandatory Fun at Bedrock.LA “Weird Al” Yankovic is currently enjoying the success of Mandatory Fun, his 14th studio album and first since 2011’s Alpocalypse. The reigning King of Pop Parody chose to work at Bedrock.LA studios in Echo Park, CA. Yankovic has exceeded 12 million album sales, has won three Grammys (with 14 nominations) and countless awards and accolades. He is pictured outside Bedrock. LA’s 12,000-sq. ft. mural by the art duo Cyrcle with a TELEFUNKEN custom red, white and blue M80 dynamic microphone.
Journey FOH Engineer Talks Live Sound Gear Journey and the Steve Miller Band are currently touring North America. The equipment choice for the 40-city tour was driven in large part by Journey’s FOH engineer Jim Yakabuski (Van Halen, Matchbox 20), who chose to go with Meyer Sound. The system is based around dual main hangs of 12LEO-M line array loudspeakers each, with four LYON loudspeakers under each hang for down fill. Outfill hangs are 10 LYON loudspeakers each, while four MINA™ line array loudspeakers and four JM-1P arrayable loudspeakers are used for front fill. To maximize low-end impact for the audience and minimize undesired spill for the musicians on stage, dual flown cardioid arrays of nine-each 1100-LFC low-frequency control elements are supplemented by two cardioid ground stacks of three 1100-LFC loudspeakers each. A Galileo® Callisto™ loudspeaker management system with six Galileo Callisto 616 and two Galileo Callisto 616 AES array processors supplies system delay and optimization.
More Studio News CHALICE RECORDING GETS DOWN WITH DANLEY: “Before we installed the Danley subs, we were blowing our subwoofer drivers once or twice a week,” says Lowell Pickett, head studio tech at Chalice Recording in Los Angeles. “It’s because the monitoring volume is often really extreme; more and more, our clients are using the main system to gauge the music’s impact at club volumes. It’s a visceral thing.” The client list at Chalice Recording Studio in Hollywood, CA has hosted, just to
Producer Playback “You’re not the artist. You need the artist to speak. Allow them their space and it’ll take you further than if you put yourself in front.” – Salaam Remi (Alicia Keys, Amy Winehouse). Interviewed May 2014
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name the “B’s,” Backstreet Boys, Barbara Streisand, Beastie Boys, Justin Bieber, Beyoncé, the Black Eyed Peas, Blink 182 and Britney Spears. Those clients use Chalice Recording Studio as the medium through which they turn ideas into platinum albums and Grammy Awards. Get more details on Danley subs at http://danleysoundlabs.com. For more on Chalice Recording, visit https://facebook. com/pages/Chalice-RecordingStudio/140781862623569.
– ANDY MESECHER andym@musicconnection.com
Rupert Wates Performs Live In Burbank Studio Burbank CA’s Theta Sound completed its second house concert recently. Rupert Wates (ConcertsInYourHome.com 2013 Artist of the Year) is pictured headlining the event. Watch the performance at http://youtu.be/ VPF6WTw6148. For upcoming events and booking information, visit http:// thetasound.com.
Ernie Ball Winners Track In North Hollywood Studio
SHEVY SHOVLIN
NRG Recording owner, producer and mixer, Jay Baumgardner, has been keeping himself busy working on a variety of projects. One such project was an EP for Toronto’s Sons of Revelry. SOR won the Ernie Ball / Rockstar Uproar Festival Battle of the Bands in 2013 and one of their prizes was the recording of their EP in NRG’s Studio A. Follow @NRGrecording to remain up-to-date.
Vintage King Talks Analog Vs. Digital At Summer NAMM Vintage King Audio, an international dealer of modern and classic pro audio equipment and restorer of vintage recording gear, made a striking impact at this year’s Summer NAMM Show in Nashville. Vintage King co-founders Mike and Andrew Nehra took the stage during the Retail Summit for a chat with NAMM president Joe Lamond. Talking about the history of the VK brand, the Nehra brothers gave insight into the company’s formation, which originated within their own Detroit recording studio, The White Room. Beyond Vintage King’s beginnings, the chat quickly turned to the age-old debate of analog vs. digital.
Metal Blade Gets Jazzy Jazz trio Trioscapes have released their second album, Digital Dream Sequence, via Metal Blade Records. The album was tracked at Legitimate Business Studios with producer Kris Hilbert. The group’s debut, Separate Realities (2012), hit No. 9 on Billboard’s Traditional Jazz chart. Featuring Between the Buried and Me’s bassist Dan Briggs, the band also consists of Walter Fancourt (tenor sax, flute) and Matt Lynch (drums). To honor the recent release, Trioscapes have uploaded a studio update to their YouTube page: http://youtu.be/JRmSqTrrc88.
SUMMER ‘14 SWNG.HS.ATX NEXT LEVEL SH*T • 2 PRODUCTION STAGES (2000 & 1150 SQ FT) & 2 REHEARSAL STUDIOS • NEVE & API EQUIPPED ANALOG & DIGITAL RECORDING STUDIOS • 30 CAR PARKING WITH BUS BAY
REHEARSALS EVENT PRODUCTION RENTALS RECORDING SWINGHOUSE.COM September 2014
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PRODUCER CROSSTALK
CHRISTOPHER TYNG
Paying It Forward One Artist At A Time
By Rob Putnam
S
anta Barbara, CA-area producer and composer Christopher Tyng began his career as a drummer and songwriter. After his style was described by friends as “visual,� he segued into composition for film and TV. During college, Tyng won BMI’s Pete Carpenter Fellowship and now splits his time between his Star Hill Studio and Los Angeles. Over his 20-plus years in the business, he’s worked with artists including Michael Stipe, Beck, Drew Barrymore and Matt Groening. He produces from a composer’s perspective and notable among his repertoire is the theme for Futurama and the music for USA Network’s hit show Suits. Tyng’s approach to production is informed by more than two decades of composition. “It’s about taking the years of writing and producing a diversity of scores and songs for TV and film and applying [those lessons] to record and song production,� he says. “When you work in TV and movies, you do so The three most important many styles of music. I’ll go from hipthings he’s learned as a hop to African stuff to punk. It sets me producer are: up nicely to be a producer because I have so many tools at my disposal. I’m s ,ISTEN FIRST -Y ROLE IS TO INVEST not just known as the rock guy or the IN AN ARTIST S VISION AND NOT TO dance guy.� PUT MINE ON TOP OF IT )T S EASY Tyng has learned the importance of TO GET EXCITED ABOUT IDEAS THAT innovation and creativity in his work. JUMP INTO YOUR HEAD "UT YOU “In one episode of Futurama, the NEED TO UNDERSTAND WHAT THE crew flies back in time to 1939,� he ARTIST IS TRYING TO ACHIEVE AND recalls of one of his biggest recording THEN EXPLORE HOW YOU CAN MAKE challenges. “Matt Groening wanted THAT BETTER the accompanying music to sound like it also morphed back to the 1930s. s )F THE SONG ISN T THERE NO When I arrived at the Sony scoring AMOUNT OF GEAR WILL MAKE IT stage, I quickly discovered that there GREAT 'EAR WILL NEVER BE THE was no obvious way to do that. The MAGIC SAUCE THAT WILL MAKE A stage is configured to capture an SONG A HIT ,IKEWISE YOU CAN T orchestra in all its glory with some of BLAME THE EQUIPMENT WHEN A the best gear available. Lo-fi isn’t on SONG ISN T GOOD the menu. I had the second engineer bring in several trashcans. I auditioned s $ON T BE PRECIOUS ABOUT WHAT them all by sticking my head into YOU DO 5NDERSTAND THAT THIS IS A each while the orchestra warmed up. TEAM PROCESS AND BE WILLING TO When I found the one I wanted, I then ENGAGE IN CONVERSATION WITH THE placed it in the center of the orchestra MEMBERS 4HE GOAL IS TO CREATE and instructed the studio staff to sink SOMETHING GREAT one of their prized Neumann U 67s deep inside of it. We recorded through both the traditional Decca Tree mics and also our trashcan chain. When we crossfaded the mix, instant time warp back to the sound of an old gramophone! Sometimes the coolest sounds come from the craziest ideas.� Last year Tyng established the GROW MUSIC PROJECT, which enables him to give back to an industry that’s given much to him. “GROW MUSIC is about identifying artists who are working hard to push their own train down the track but don’t have the resources or access to development and production talent,� he explains. “To be ready for TV licenses and so forth, you need to have your representation at a professional level. We help artists identify their most promising song and turn it into their calling card. It’s probably never been harder to see income directly from album sales so an avenue like film or TV song placement is or should be an integral part of an artist’s strategy.� Tyng’s current and upcoming projects include music for season four of Suits and several new artists that he’s developing through GROW MUSIC including singer-songwriter Holly Henry. Shortly after he reached out to her, she was tapped for NBC’s The Voice. Contact Christopher Tyng, GrowMusicProject@gmail.com
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September 2014
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– ANDY KAUFMANN
Greg Hammer
program called Red Bull Bedroom Jam in the U.K. That’s exciting, because Red Bull is in every country in the world and they have people whose job is to know who the cool bands are in any specific town.
Managing Director Red Bull Records
Years with Company: 7 Address: 9044 Melrose Ave., West Hollywood, CA 90069 Phone: 323-606-7680 Web: http://redbullrecords.com E-mail: greg.hammer@redbullrecords.com Clients: Awolnation, Beartooth, Blitz Kids, Five Knives, Heaven’s Basement, Itch, New Beat Fund, Twin Atlantic, Black Gold, Innerpartysystem
Partnering Up Our mandate is to be the most artistfriendly label out there. The best way to do that is to be fair with the artists we sign. Our job is to become profitable, but at the same time, since we have the ability to be patient, it’s important that we partner with our artists and help develop them. We need to elevate artists to their goals.
BACKGROUND: After an illustrious career on the major label side of the industry, Greg Hammer flipped the script when he found a home at Red Bull Records. Opening its doors on July 2, 2007, the label Hammer helped create puts music first by signing a small roster of unique artists it aims to turn into household names. Playing Bitch I studied business marketing and was going to go to law school, but didn’t get into any of the schools I wanted. My dad’s attorney was like, why don’t you do what you want and get a job in the music business? By shear luck, my resume went across the desk of Daniel Glass, who at the time had just left EMI Records. He was starting his own label and Daniel saw my resume at the same time he was talking to an agent I had interned for. The agent said some nice things about me, so Daniel called me in and somehow I bamboozled him into thinking I knew what I was doing. I don’t think my actual job title was bitch, but that’s pretty much what I did for him. I did whatever he wanted.
“We are looking for artists that zig while everyone else zags.”
Rising Tides Daniel’s label was called Underdog Records. Without him, I wouldn’t be where I am today. I learned more in the first six months working for him than I did the next five years. Then, Doug Morris called Daniel and asked if he’d help start a company called Rising Tide Entertainment. Daniel brought me along and I became the seventh employee of Rising Tide Entertainment, which three months after its inception became Universal Records. The Path to Red Bull I started in the A&R research department, but then found a band that sold a million records and became a full-on A&R person. In 2001, I left Universal to do some independent production, but then had the opportunity to help run another label. One of the bands I produced got signed to RCA and they asked me to manage them, which was a mistake. The typical story: Get signed by one guy, he gets fired and a day before the single’s going to be shipped to radio the band gets dropped. At that point, I was looking to get out of the record business. That’s when the opportunity came to work with Red Bull on the music marketing side. A couple years later, Dietrich Mateschitz, the owner of Red Bull, decided he wanted to start a label. The Same, But Different There are many aspects of the company that make us like any other record company. We have an A&R staff. We have a marketing team. 22 September 2014
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We have radio. The thing that makes Red Bull Records stand apart is there’s not the focus on immediate return that has to happen with many companies. That allows us to have patience and take a long-term approach with our artists. It’s about building careers, not necessarily selling a song or an album or a piece of plastic. We’re not competing against anybody. I’m not going to say that we’re better than anybody else; our approach is just a different. Playing the Long Game Any artist we sign, we look at not where they’re going to be a year or two from now, but where they’re going to be five and 10 years from now. An artist like Heaven’s Basement, I don’t know if anybody expected that band to sell millions of albums, but it’s not about that. It’s about finding their audience and building an amazing touring career and merchandise. Awolnation has sold five million singles in the U.S. and a couple million more worldwide, but I wouldn’t say we are where we need to be with that artist. Another band like Twin Atlantic, it’s the same thing. Ultimately, we want them to be doing arenas. That’s going to take time. Tapping In My job is to make sure the artists we sign fit the aesthetic of what we’re trying to accomplish. We are looking for artists that zig while everyone else zags. We’re looking for left of center. We still want artists who can break through to a wider audience, but that’s our job, to find out how to get them there. Our artists’ job is just to make great music. We [find artists] like anyone else. Awolnation was a demo submitted by a manager. Twin Atlantic we found off a sampler for a music festival. Itch was brought to us by a producer. Blitz Kids were discovered through a Red Bull
No Bull Our job is not to promote the brand. Our job is to find amazing artists and get them to the next level. Some of our artists are huge Red Bull drinkers. Some, not so much. None of them are required to do anything for the brand. That being said, many of them want to be part of what Red Bull does. To really understand Red Bull, you have to see all of the areas of culture, sports and entertainment the brand is involved with. The brand has a TV network, a magazine, five soccer teams, two hockey teams, two F1 teams… They make sports up, like crashed ice.
Red Bull Recording We have 10 [recording studios] all over the world. Red Bull Studio in L.A. is a worldclass facility. It won the MIX engineering excellence award in 2007. There are studios in South Africa, New Zealand, New York, London... Those are available for artists who have a relationship with the brand, free of charge. There isn’t a quid pro quo. It’s more like, hey, if an artist is passionate about the brand, the brand wants that artist to be successful and if giving them free studio time can help, that’s a win. Being Innovative Red Bull has always taken the approach that, if it’s been done before, it’s not appealing. We take that approach seriously. It’s very important we try new things. The name of the Twin Atlantic album was Vivarium, like an aquarium, an enclosure that has living organisms, so to promote that record we got download cards that had seeds in them—you would literally plant the download card and flowers would grow. We were one of the first labels to do a Twitter-for-a-free-track. If you tweeted the band’s name, you got a free download. A lot of bands have followed suit. Every Artist a Success We’re not competing against anybody, but we have a different philosophy than most. Our goal is to have every one of our artists be successful. The best way for that to happen is to have a small roster we can put all of our resources behind. If you have multiple releases every month, it’s difficult to be able to focus and give each artist the attention they deserve. As part of that philosophy, we also have a diverse roster. Most independent labels kind of own a certain scene and genre. We’ve taken the opposite approach. We don’t want artists that sound similar to each other. Partially, that’s so we don’t compete against each other, but also because, to a certain extent, we are representative of the brand and Red Bull is many things to many people.
– 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
SongBong, the mobile app that gives users “a hit a day,” is looking for talented independent artists and bands. Designed to introduce new music to potential fans and consumers, it provides artists with a new, innovative form of promotion. The app streams a song for a 24-hour period, after which it is archived on an “Artist Information” page, which includes artist biographies, photos, song clips and more. Additionally, downloads may be purchased with royalties shared between the artist and company. The app, free for both artists and users, is in beta and will launch soon. All genres of music are welcome, as long as the material is strong. If interested, email songbonghit@gmail.com and send a link to your music. All submissions will be reviewed and, if accepted, an information sheet and contract will be sent to you. “thecoolschool for music business studies” is gearing up for a number of workshops in September and November. Two special workshops on touring will be hosted by Chris Fletcher. The first is on Sept. 6, “Are you Ready to Tour?” with the second on Sept. 13, “Planning Your First
Tour.” All are welcome to the Sept. 6 session but attendance is limited to only 10 for the special September 13 session. Also, on Nov. 1, thecoolschool will present a panel of industry professionals entitled: “Managing Your Music Career...Get Back on Track for 2015!” Admission is only $20 per person. For information on all of the scheduled workshops and seminars you can go to http:// thecoolschool.biz. To reserve a spot, shoot an email to email thecoolschoolbiz@ yahoo.com. TuneCore has launched an “Artist Services Portal” with career-boosting promotional tools and track smarts for audience insights powered by SoundOut. The Artist Services Portal is a portfolio of musicrelated resources that support today’s independent musicianentrepreneur. It features tools for promotion, website building, merchandise management and fan-engagement. Further, TuneCore negotiated special features and pricing with many of its service partners for all TuneCore Artists. “We view the evolution of the music industry as the opening of previously-locked doors, where artists now have more opportunity to get their music out and actually make money,” stated TuneCore CEO Scott Ackerman. For details, go to http:// tunecore.com. Power Popaholic is a premier music blog that focuses on the genres of power-pop and melodic rock. It also reports on live shows, tour dates, gossip, MP3s, videos and just about anything power-pop fans want. If you would like to submit material to Power Popaholic for review or posting, you can go to http:// powerpopaholic.com/contact for details. But, keep in mind that your
KOTZEN CURATES CAREER Richie Kotzen is set to release The Essential Richie Kotzen, a 2-CD / 1-DVD collection on Sept. 2 via Loud & Proud Records. When Kotzen plays, you know it’s him. As a guitar virtuoso, singer and songwriter he possesses an inimitable style that’s instantly recognizable and immediately striking. This record was personally curated from his 18 solo albums to give listeners the most comprehensive and concise introduction to his extensive body of work. “I’ve really changed and grown as an artist and a person,” Kotzen says. “I hand-selected these songs so newcomers can get into my music and learn who I am as a recording artist.” For additional information, visit http://richiekotzen.com.
BENNETT & GAGA GET CHEEKY The jazz album from Tony Bennett and Lady Gaga, Cheek To Cheek, will be released on Streamline, Columbia and Interscope Records on Sept. 23. The album features classic jazz standards sung by Bennett and Gaga in a combination of vocal duets and solo performances. Each song was handpicked by the artists, and the album features selections from the Great American Songbook. The two first met backstage in 2011 at the Robin Hood Foundation gala in New York City where Bennett asked Lady Gaga to sing with him on his DUETS II album. The first taste of their latest collaboration is the classic Cole Porter song, “Anything Goes,” available on iTunes at http://itunes/cheektocheek and other digital retailers. for inclusion into the Rock & Roll Hall of Fame as a member of The Paul Butterfield Blues Band). For the latest news, visit http:// elvinbishopmusic.com.
material will NOT be reviewed if it doesn’t relate to power-pop or melodic rock in some way. Additionally, the site does not usually review singles or demos, and a distribution platform (e.g. Bandcamp, CD Baby, Amazon or iTunes) must be in place. Unsigned Only, a music competition designed for those who are not signed to a major label or any of its affiliates, subsidiaries, or imprints, is accepting submissions. The competition offers prizes, recognition, exposure and the chance to be heard by a group of judges that are either highprofile recording artists or industry professionals. But, Unsigned Only takes it a step further and puts the Grand Prize winner in direct, personal contact with record label executives. For the latest competition dates and details go to http://unsignedonly.com.
,!"%,3 s 2%,%!3%3 SIGNINGS
Legendary blues guitarist/ songwriter/vocalist Elvin Bishop has returned to Alligator Records with Can’t Even Do Wrong Right, which was released in August. With his “so-loosethey’re-tight” road band behind him, along with friends Charlie Musselwhite and Mickey Thomas, Bishop’s new CD proves that he is as vital and creative an artist now as he was when he first hit the national scene in 1965 with the Paul Butterfield Blues Band (indeed, he was nominated
Country superstars Big & Rich (Big Kenny and John Rich) are celebrating 10 years of hit music making with their new album, Gravity. It’s the multi-platinum selling duo’s fifth studio album and is set to launch on Sept. 23. In addition to the latest recording project, they have formed their own label, Big & Rich Records, as a partnership with Kobalt Label Services. Big Kenny describes the business venture and forthcoming CD as a platform for gaining creative control of their musical legacy. For the latest updates and tour itinerary for a concert near you, visit http://bigandrich.com. Grammy and Ivor Novello awardwinning recording artist Imogen Heap has released her fourth solo album “Sparks” via RCA Records. Sparks has been on a well-traveled journey, one which Heap began at 6 AM on March 14 2011, with a live stream from her home studio, where she gathered “sound seeds” from fans and weaved them together to form the first song (“Lifeline”). Says Heap, “The album began with someone sending in the sound of a striking a match, which inspired ‘Lifeline.’” Even more amazing, one of the songs will only be finished when Heap is dead! The “Listening Chair” covers 35 years of Heap’s life in five minutes and will be added to every seven years with another minute
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– BERNARD BAUR
of a cappella song. The album is available in four formats—a standard edition, a double-disc edition with instrumental versions of all tracks, a 12-inch vinyl and the super deluxe package. For further information on this unusual project, visit http://imogenheap.com. Concord Music Group has acquired the catalog of renowned American R&B/ soul label Vee-Jay Records. The catalog includes over 5,000 master recordings from renowned artists such as Little Richard, John Lee Hooker, Jimmy Reed, Jerry Butler, the Staple Singers, Gene Chandler and the Dells among others. Concord Music Group President and CEO, Glen Barros stated, “The range and richness of Vee-Jay’s catalog is truly remarkable. We’re grateful to be its guardian and look forward to broadening this unique musical legacy.” To find out more, go to http://concordmusicgroup.com. Weezer will release their ninth studio album, Everything Will be Alright In The End, on Sept. 30 via Republic Records. Since forming in 1992, Weezer have released a myriad of celebrated, chart-topping albums, selling over 13 million records worldwide. Following an intensely prolific couple of years, the band chose to deliberately dial down in 2010, a move singer/guitarist Rivers Cuomo says allowed him to write at a slower pace, which gave his songs time to grow into their final forms. When it finally came time
to record the material, Weezer reunited with the man who helped them make some of their most iconic music ever, Cars frontman Ric Ocasek. To get the latest dish on the Weeze, visit http://weezer. com.
PROPS
The VH1 Save the Music Foundation Honors (presented by Avnet) celebrated legendary musician, songwriter and record producer, Linda Perry. It was the first event of its kind for the Foundation. The summer celebration honored individuals who personify the spirit of music in their respective fields. Perry is also celebrating the launch of her new VH1 docuseries, Make or Break: The Linda Perry Project. For the first time, Perry opens the doors to her Hollywood studio as she works with young artists—helping them find their voice and define who they are. Her goal is to find the next big thing to sign to her label, Custard Records. Visit http:// lindaperry.com. The T.J. Martell Foundation has announced that it will celebrate its 15th Annual Family Day on Sept. 28, at Hammerstein Ballroom in New York City. This year’s Family Day will honor RCA Records President and COO, Tom Corson, and his family for their outstanding support of the organization over the years. Visit http://tjmartell.org or call 646-8411394 for more info.
DUFF INKS DEAL WITH RCA Hilary Duff recently signed with RCA Records, and will release her RCA debut in the fall. Her first single “Chasing the Sun,” written by Colbie Caillat, Jason Reeves and Toby Gad, has already been released. The record is Duff’s fifth studio album. “Hilary is a global superstar, a talented singer, actress and performer and we are thrilled to welcome her to RCA,” says Tom Corson, RCA’s President & COO. Duff reports, “When I took a long break from music, it gave me the power to choose my next steps carefully. And, now I’m really proud to be part of the RCA family.” To catch up with Duff, visit http://hilaryduff.com. 24 September 2014
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DIY Spotlight Ostrich Run JUGGLING LIFE as musicians, philanthropists and college students is no easy task. However, for Joel Rowland and Mark Pascale of the band Ostrich Run it is the essence of their day-to-day life. Like many other DIY acts, Ostrich Run was formed in 2013 to connect with people through music. But, more than that, Rowland and Pascale wanted to bring a sense of unity to their community through concerts and events hosted by their non-profit organization, the Ostrich Farm Foundation. According to their mission statement, “We wanted to create an awareness in our community that ANYONE can engage in making a difference.” As such, their music, which has elements of Foster the People, Blink-182, Third Eye Blind, and even Louis Armstrong, serves as a platform for the foundation to raise awareness and to donate proceeds to a variety of deserving charities. Why would they do that? Well, the duo noticed that emerging local charities struggled without significant financial backing. And Rowland and Pascale wanted their music to be “the vessel that connects our abstract creativity with the real world.” High ambitions indeed… That community approach brings attention to their music as well. “It gives us a chance to express who we are in front of an audience and really connect with them.” As a result their music has benefited as much as the charities they support—as a kind of a karmic reward. Currently, the pair are managing their hectic schedules, have just released their first single “Everyone Pretends,” and are finishing work on their first EP which is coming very soon. Visit http://ostrichrun.com or http://facebook.com/ ostrichfarmfoundation
Have a successful DIY strategy to share? Email bbatmc@aol.com Indie rock band the Bergamot beat 3,500 other acts to win a music marketing campaign, via Web ‘n Retail, on ReverbNation. The Bergamot is a Brooklyn-based act consisting of Jillian Speece (lead vocals) and Nathan Hoff (guitar and vocals). This husband/ wife duo are the architects behind an American indie, folk-rockinspired sound. They have played numerous shows ranging from acoustic to full band productions in the U.S., Bahamas, Germany, France, Belgium and Italy. They have also shared the stage with All American Rejects, Young The Giant and Wiz Khalifa. The Bergamot are currently working on their latest recording, set for release this winter. Go to http:// thebergamot.com to learn more.
THE BIZ
Neil Young’s PonoMusic has selected Omnifone’s MusicStation to power its high-resolution digital music service. Young’s vision is to revive the soul of music lost to popular compressed digital formats. PonoMusic service, which
will launch in the U.S., U.K. and Canada before the end of the year, is a music ecosystem that includes the PonoPlayer, the PonoMusic Media Centre App, and the PonoMusic.com social music store. TuneCore reported that digital music distribution payouts in Q2 2014 exceeded $33.2 million, an 18.4 percent increase over Q2 2013. Since its inception in 2006, TuneCore has paid $438.8 million to artists from a total of 8.8 billion streams and downloads. Moreover, new and emerging markets throughout the world are of increasing importance to independent acts. TuneCore saw incredible gains in markets outside the USA, with earnings from music distribution increasing 43% in Germany, 46% in Mexico, 52% in Asia, 65% in Scandinavia and a staggering 147% in Brazil. BERNARD BAUR was voted one of the “Top Music Business Journalists” in the country. Bernard is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.
“I've had 1,064 TV Placements for My Music Because I Joined TAXI” Stuart Ridgway - TAXI Member
I'd seen the TAXI ads (just like
this!) hundreds of times over the years and I was very skeptical. But when I got their free information kit and saw that the money back guarantee was for a full-year, I decided to make the leap. Within weeks of joining, my music was in the hands of some A-list people in the film and TV industry. In less than a year I got the call from the music supervisor at one of LA's hottest TV production companies.
Reality TV and Royalty Checks
We struck up a good working relationship, and when the supervisor needed music for a new daytime reality show, she asked me if I would like to join her team. For the next two years, I wrote music for an Emmy Award winning show, which aired every weekday on NBC. My first royalty check alone covered 10 years of TAXI memberships! All in all, those two seasons netted me more than $50,000, and the company TAXI
www.pyramidmusic.com
Get Paid for Making Music
hooked me up with has hired me to write for two other shows as well.
Being “Great” Wasn't Enough
After making more than 1,000 cold calls, it dawned on me that music supervisors didn't care how great I was as a composer. How could they? They don't know me and that's that! I could only get so far on my own. I realized I needed someone or something to be my champion somebody to connect the dots. TAXI worked for me, and if you're really good at what you do, it just might do the same for you. If your music is up to snuff and you pitch it at the right targets, belonging to TAXI can change your life.
Actually, I may have the greatest job on the planet because I can work in my studio all day, playing piano, writing string lines, recording guitar parts, and the hours easily slip by. I get paid to do what I love, and much of the credit for that goes to TAXI. They don't blow smoke, and they don't promise miracles. But they do keep you focused, on track, and energized about your music. TAXI's expert feedback is priceless, and their free convention, the Road Rally, is worth more than the membership fee.
I Volunteered to Write This Ad!
There are tons of companies that imitate TAXI, but how many have you seen that can run ads like this? TAXI is the world's leading independent A&R company because it's the one that really works. Take my word for it. Call for their information kit now.
The World’s Leading Independent A&R Company
1-800-458-2111 June 2014
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PRIORY Date Signed: November 2013 Label: Warner Bros. Records Type of Music: Alternative / Pop Band Members: Brandon Rush, all instruments, vocals; Kyle Sears, all instruments, vocals. Management: Gary Gersh, Rich Holtzman - The Artists Organization, 310-315-2631 Booking: Kirk Sommer & Brent Smith - WME, 310-285-9000 Legal: Elliot Groffman / Carroll, Guido & Groffman, LLP, 212-759-2300 Publicity: brooke.black@wbr.com Web: http://prioryband.com A&R: Jeff Sosnow
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ortland duo Priory took a big risk to land their deal. But after the members left their jobs and began logging 10-hour days for 18 months in their home-built studio, they attracted management interest. Soon after, they found themselves at the top of no fewer than 10 labels’ wish lists. Ultimately they chose Warner. “We quit our jobs and locked ourselves away for a year and a half to make our record,” says Brandon Rush. “Once we’d taken it as far as we could, we sent it around to different people. One of them was Gary Gersh at The Artists Organization. He called us within a few days saying ‘We think these songs are incredible. We’d like to fly down and see you.’ Kyle [Sears]
“Working every day, even when we didn’t feel like it, was what paid off for us.” and I were losing it. We knew Gary and it was a very exciting time.” In less than a month, the band signed a management deal. It soon began to pay dividends. “Within a few weeks, we had almost every major label interested,” Rush recalls. “We began meeting with them all and it was surreal. But we went with Warner based on the fact that [Chairman & CEO] Cameron Strang told us, essentially, that we could do whatever we wanted; we had absolute creative control. We chose them because of the freedom they allowed us along with the label’s vision for its future.” “Working every day,” Sears says, “even when we didn’t feel like it, was what paid off for us. We were always in the studio for 10 hours a day. Without that dedication and personal belief, it would have been impossible for us to get where we are now.” Need To Know will drop in the fall. The single “Weekend” hit YouTube in early July. Within a month, the view count had topped 100,000. Priory will begin its tour on Sept. 27 at the X96 Toyota Big Ass Show in Salt Lake City along with Neon Trees, Phantogram and Capital Cities. – Rob Putnam 26 September 2014
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KANDACE SPRINGS Date Signed: November 2013 Label: Blue Note Records Type of Music: R&B Management: Will Botwin and Christine Kane - Red Light Management, 310-273-2266 Booking: Cara Lewis - CAA, 212-277-9000 Legal: Scott Felcher - Felcher & Freifeld, 212-695-7800 Publicity: Kasturi Shan - Press Here, 212-246-2640, kasturi@ pressherepublicity.com Web: https://facebook.com/kandacesprings A&R: Eli Wolf
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ork your connections. It’s been emphasized since the dawn of the music business. Connections of all types––that includes family. The right word in the right ear can mean the difference between laboring in obscurity and landing a deal that ultimately leads to playing with Prince at Paisley Park. In 23-year-old Kandace Springs’ case, her father had been a singer in Nashville for years. You don’t stay in the business that long without making a few friends, if you know your craft. Indeed, through an acquaintance, he was able to get Kandace’s demo played for songwriting and production team Carl Sturken and Evan Rogers of SRP Music Group. The duo has been pivotal in the career of Rihanna and written for artists including Christina Aguilera and Jessica Simpson. After hearing her material, Rogers ventured from New York City to meet with the young Springs. He liked what he heard and saw. “Evan heard
“Evan heard my demo and signed me to SRP. Then they started shopping me around to various labels.” my demo and signed me to SRP,” the singer recalls. “Then they started shopping me around to various labels. Eventually we met with Eli Wolf of Blue Note. He got us to Don Was [label head, producer and noted for his band Was (Not Was)]. I auditioned for him in Studio A at [Los Angeles’] Capitol Records. He ended up signing me three months after that.” Springs’ EP Kandace Springs will drop on Sept. 30. Her full-length album Drive is slated for a March 2015 release. In the meantime, she’s playing shows throughout New York City––which is now her home–– including Rockwood Music Hall and famed West Village venue The Bitter End, a virtual breeding ground for comedians and musicians. The club claims a hand in the careers of Bob Dylan and Joni Mitchell. She also plans to make it back to L.A. to perform. When Music Connection spoke with Springs, she was en route to Brooklyn for a video shoot for her song “Love Got In The Way.” And in late July she was invited to play with Prince at Paisley Park. For an emerging artist, the opportunities don’t come much sweeter. – Rob Putnam
LIAM BAILEY ALIVE LIKE ME Date Signed: March, 2014 Label: Flying Buddha / Sony Music Masterworks Type of Music: Acoustic Soul Management: Turn First Artists Booking: Olly@CodaAgency.com (U.K.) Publicity: sarah@girlie.com Web: http://liam-bailey.tumblr.com A&R: Salaam Remi
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hen Nick Shymansky, Amy Winehouse’s former manager, signed British acoustic soul singer Liam Bailey to Polydor in 2007, he had to share the excitement with his friend, producer Salaam Remi. A video of Liam singing his song, “It’s Not the Same,” was enough to entice Remi into producing Bailey’s album. So impressed was he by the guitarist’s songwriting that he also signed him to a joint publishing venture with EMI. While several cuts were released, Polydor declined to release the finished album. Says Remi, “We had a great artist with a great body of work, but no one was going to hear it.” Having been burned by the gauntlet of label politics, Remi decided the solution was to create an imprint, Flying Buddha. Taking Bailey with him was an obvious choice. The deal was simple. A big part of the contract focused on generously budgeting for studio time, something Remi’s faith in the singer’s talent allowed him to do without reservation. Remi’s confidence was further boosted by Bailey’s “colorful personality.” The artist is never short of songs, he says, “because he’s never short of words. He has that thing— the it factor.”
“Find the right people who’ll believe in you and be down for the long haul.” Bailey’s decision to continue working with Remi was easy, as he had always been a diehard backer of his talent. “It was me, more than anything else,” claims Remi. “He wanted to work with someone who was a clear supporter of his artistry.” Finding someone who believes in your vision is something Remi advises for all burgeoning musicians. “I signed onto believing in his talent many years ago. That’s why I did the publishing deal with him first. So find the right people who’ll believe in you and be down for the long haul.” Bailey’s album, Definitely Now, was released on Aug. 19. – Andy Kaufmann
Date Signed: January 2014 Label: Rise Records Type of Music: Alternative Post-Hardcore Band Members: Jairus Kersey, vocals; David Knox, bass, vocals; Brandon Banton, guitar; Joel Riley, drums; Dakota Dufloth, guitar, vocals. Management: Michele Abriem, michele.j.abreim@gmail.com Booking: Dave Shapiro, daveshapiro@theagencygroup.com, (U.K./ Europe) Tom Taaffe, tomtaaffee@theagencygroup.com Publicity: michele.j.abreim@gmail.com Web: http://alivelikeme.com A&R: Craig Ericson
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he members of Alive Like Me had been playing together in different forms since the eighth grade. And whenever they wanted to record a project, they took it to their friend, Ryan Furlott, at Rain City Audio. That connection proved fortunate—as a member of Defeat the Low, Furlott played alongside Rise Records’ founder, Craig Ericson. Furlott passed Alive’s demo on to multiple contacts. One label called and another made a concrete offer. “It was really hard not to take,” reports their singer, Jairus Kersey. But then there was Rise, which held back but made their interest clear. The prospect of signing with Rise, a label boasting their favorite band, the Devil Wears Prada, was too tempting, so they waited.
“We were all so excited that we just put pen to paper.” Having sent Rise a second song, they were summoned to Ericson’s basement. Despite their van dying, a broken foot and Kersey nursing a cold, everything went smoothly. After twice running down their five-song repertoire, Rise offered dinner and a contract. Youthful enthusiasm made the decision unanimous. “We were all so excited that we just put pen to paper,” blurts Kersey. Their trust in Furlott engendered faith in deal, but they’ve since reviewed the details. “It was exactly what we wanted.” Signing with Rise has dramatically altered their career trajectory. For starters, they never would have been able to record their full-length album, Only Forever, due out Oct. 7. Nor would they have hired their manager, played the Warped Tour alongside Slaves or been slated to tour Japan with Issues this month. “Everything comes back to getting signed, making new connections, making new friends,” coos the singer. “That’s what it’s all about.” – Andy Kaufmann September 2014
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Gerson Joins Universal Jody Gerson, who currently serves as Co-President of Sony/ATV Publishing, will join Universal Music Publishing Group on Jan. 1 as chairman/CEO. Among the songwriters she has signed during her career are Lady Gaga, Norah Jones, Odd Future, Jermaine Dupri and a then 15-year-old Alicia Keys. She replaces Zach Horowitz, who led the company the past two years. See http://umpg.com for complete information.
Bert Berns: R&B’s Sinister History “I don’t know where he’s buried, but if I did I’d piss on his grave,” said legendary producer Jerry Wexler of Bert Berns. In The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues (Counterpoint) author Joel Selvin weaves harrowing tales of the songwriter of “Twist and Shout,” “Piece of My Heart” and “Hang On Sloopy” as the record producer and executive moved through the mob-infested music world of mid-‘60s New York.
Collaborate with Steve Aoki
Guitar Center has announced that a collaboration with worldrenowned DJ and producer Steve Aoki is part of the grand prize on another installment of the retailer’s unsigned artist discovery program, “Guitar Center’s Your Next Record.” Unsigned artists 16 years and older are invited to download the Steve Aoki track, “Delirious,” on guitarcenter.com/aoki and upload their remixed version along with original music to serve as their submission. Participating artists will be ranked based on their social media and online fan growth throughout the submission period. Aoki and a team of trusted advisers will then review the top 100 ranked artists and select one winner to receive the grand prize.
the generosity of Patty Allen, wife of the late ASCAP songwriter member, Bob Allen. Jerry Ragovoy (1930-2011) was the songwriter or co-writer of such classics as “Piece of My Heart,” “Time Is on My Side,” “Cry Baby,” “Get It While You Can,” “Stay with Me Baby” and “Pata Pata.” There is no fee to participate in the workshop; however, the chosen participants will be responsible for their own transportation, housing and all other living expenses, and must be able to attend all three sessions in New York. Submit two original digital song files with lyrics, along with a brief resume or bio and a written explanation as to why you would like to participate in the workshop. E-mail applications to: RagovoySongwritersWorkshop@ gmail.com. The deadline for applications is Sept. 26.
ASCAP’s Free Ragovoy Workshop
Sync Summit Summons Songwriters
The Jerry Ragovoy Songwriters Workshop in New York City focuses on the discovery, development and education of a select, advanced group of songwriters. The workshop features prominent guest speakers, giving advice on topics including A&R, music publishing, artist management, legal issues, etc. Jerry Ragovoy’s widow, Beverly Ragovoy has generously established the ASCAP Foundation Jerry Ragovoy Award, which will be presented to one outstanding Workshop participant. The ASCAP Foundation Robert Allen Award is also presented to one outstanding workshop participant thanks to
Sync Summit is a high-level, focused networking event attended by top music industry figures. For two days a diverse mixture of music supervisors, heads of music in visual and interactive media (TV, film, video games, advertising, the Internet and mobile), label executives, publishers, music libraries, composers, artists, technologists, lawyers, accountants, brand managers and service providers gather for discussion, networking and deal making. The event is designed to be a different kind of conference—not a mere pitchfest. Sync Summit is organized around fostering
BMI Shows Character @ Comic-Con BMI and White Bear PR held its annual “The Character of Music” panel during the 2014 Comic-Con International convention. Pictured (l-r): Paul Haslinger, BMI composer (AMC’s Halt and Catch Fire); Christopher C. Rogers, creator/ executive producer (AMC’s Halt and Catch Fire), Chris Bacon, BMI composer (A&E’s Bates Motel); Anne Cecere, BMI Director, Film/TV Relations; Christopher Nelson, producer (A&E’s Bates Motel) Dan Povenmire and Jeff “Swampy” Marsh, creator and executive producers (Disney’s Phineas & Ferb) and Danny Jacob, BMI composer (Disney’s Phineas & Ferb). 28 September 2014
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SongLink Presents LIPA Awards SongLink International editor & publisher David Stark presented two graduating students of LIPA (Liverpool Institute for Performing Arts) with the SongLink Prizes for songwriting at Graduation Day in Liverpool attended by LIPA Lead Patron Sir Paul McCartney. Pictured (l-r): SongLink prize-winners Joe Smithson, lead singer and songwriter for Collectors Club; Stark; and Edwin Pope, songwriter, lead singer and sax player with Mutant Vinyl.
– DAN KIMPEL dan@dankimpel.com
real, productive networking opportunities, presenting case studies of how music is discovered and used, evolving business models in the music in media market as well as creative and promotional considerations. The event will be held on Monday, Sept. 8 and Tues. Sept. 9, at the SLS Beverly Hills Hotel. See http://syncsummit.com.
Global Music Rights: New Directions
Global Music Rights, the boutique performance rights organization established by Irving Azoff and headed by executives Sean O’Malley and Randy Grimmett under Azoff MSG Entertainment, has reportedly signed songwriterproducer-artist Pharrell Williams. He joins hit songwriter Ryan Tedder at the new PRO. Global Music Rights’ roster is expected to enlist between 30 and 60 writers, with many drawn from the Azoff Music Management portfolio and select songwriters who have been invited to join the organization. Learn more at http:// globalmusicrights.com.
SongwriterLink Connects Collaborators
Recent Berklee graduate Lisa Occhino has launched SongwriterLink, a platform that utilizes the matching engine technology used by dating sites to help songwriters find the exact type of collaborators they’re looking for, whether they be composers, lyricists, topline writers or beat producers. The platform is free to use, and allows songwriters to either search for a co-writer by genre or to let SongwriterLink do the matchmaking.
Laurel Canyon’s Golden Era Author (and songwriter) Warren Sellers spotlights stories behind many of the singer/songwriter era’s most beloved songs. With a focus on the Laurel Canyon troubadours and California countryrockers, the author illuminates the inspiration for these indelible classics. Published by Square Tree Publishing, the book is available on Amazon.
Occhino plans to add more features to SongwriterLink to provide up-and-coming songwriters with mentorship opportunities, as well as start hosting co-writing competitions and live events. See http://songwriterlink.com.
SESAC Surges
SESAC, under majority ownership by private equity firm Rizvi Traverse since December 2012, is expanding. Board member John Josephson, formerly managing director at Allen & Co., has been named chairman and CEO of SESAC. Pat Collins, the president and chief operating officer responsible for running day-to-day operations, has been promoted to president and CEO of the subsidiary SESAC Performance Rights. The company has also brought in Kelli Turner, previously a managing general partner at private equity firm RSL Ventures, as its executive VP of corporate development and CFO. As part of that move, Mike Hidalgo will continue as a key member of the senior management team in the role of deputy CFO. Since 1992, when the company came under the ownership of entrepreneur Stephen Swid and other investors including Allen & Co., SESAC’s annual revenue grew from $9 million per year to an estimated $167 million in in 2013. Unlike ASCAP and BMI, songwriters have to be invited to join SESAC, and the organization is highly selective. See http:// sesac.com. DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.
Rice Is Cruisin’ with ole and the Florida Georgia Line It was all smiles as ole songwriter Jesse Rice, co-writer of country duo Florida Georgia Line’s “Cruise,” received a plaque from ole Music Publishing in honor of the song reaching 7 million sales. Pictured are (l-r): Ben Strain, ole Creative Director; Sam Brooker of Artist Revolution; Jesse Rice; and John Ozier, ole General Manager of Creative. Be sure to see MC’s feature interview with Florida Georgia Line beginning on p. 36.
Maddie & Tae Blast the Country Cliché “Girl In A Country Song” amassed newcomers Maddie & Tae over three million views in four short days on Vevo. They co-wrote the song—which pokes fun at female objectification and “Bro Country” female roles—with Aaron Scherz. Maddie & Tae are the first artists signed to Dot Records, a division of Big Machine Label Group.
Randy Newman: He Loves It! Rock and Roll Hall of Fame singer, songwriter and film composer Randy Newman has signed an administration agreement for North America with Downtown Music Publishing. Downtown’s agreement covers Newman’s catalog from 1977’s Little Criminals forward, including such hit singles as “Short People” (Little Criminals), “The Blues” and “I Love L.A.” (both from Trouble in Paradise) and “It’s Money that Matters” (Land of Dreams). September 2014
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Lili Haydn
Secure Passage to LiliLand
By Dan Kimpel
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classically trained violinist who has played with Jimmy Page and Robert Plant, Sting, Josh Groban and George Clinton’s P-Funk; an accomplished film composer, an ethereal vocalist and a singer/ songwriter with four prior albums: Lili Haydn, the daughter of the late standup comic Lotus Weinstock and ‘60s “Acid King” David Jove, was a child actress in feature films and television series prior to her music career. Her newest release, LiliLand, signals her return after a five-year ordeal when her house almost made her insane. Brain-deadening chemicals from a pesticide in the foundation of the structure caused toxic inebriation that robbed her of the ability to write lyrics. She evacuated the house, practiced her violin every day and eventually regained her powers. “I always knew that music was healing,” she says. “Music is a comprehensive holistic neurogenitive process, the most effective form of neurotherapy that exists today.” As Haydn recovered she earned valuable insight. “I got more committed to making sure that music was a part of my life, and part of other people’s lives. Because it is so important to have music in schools and to continue music as people get older. I turned to some of the other suffering that I saw in the world and I was affected by more than ever because I had my own issues.” Recording at her studio in Hans Zimmer’s Remote Control complex in Santa Monica, Haydn enlisted drummer Matt Chamberlin and bassist Itai Disraeli. “I thought this record was done several times,” she says. “But it needed more life, drive and masculinity.” A musical motif that is prominent in Haydn’s new songs is a circular melodic line. “It is called an ‘Ostinato,’” she explains. “I fell in love with the compositions of Steve Reich, Philip Glass and Peter Gabriel and the patterns that go round and round. The hypnotic factor was a place where I could find myself that was very healing. It became the terrain of LiliLand.” During her five-year process of affliction and recovery, Haydn continued to score films. “My melodic sensibility was intact, but I didn’t have the lyrics to go along with it,” she says. With her latest songs, the words are strikingly original; witness Haydn’s inspiration for “God Said” as she explains, “The president of Nestlé said that water is not a human right, it is a commodity.” The narrative in the song references the Saffron Revolution, when Buddhist monks in Myanmar (Burma) stood up to the ruling junta. The ambitious song “Sea of Gold” was given to Haydn in an instant of vivid inspiration. “I was watching author Joseph Campbell, and he was talking about Carl Jung working with a patient who was very introverted. And she had a dream that she was lying on a bed of rocks, and inside of the rocks were trapped all of her treasures. And as she began to feel more connected to people, she had another dream where the rocks opened up and she painted a picture. And the gold was coming out of the rocks.” Haydn says that with her healing, it was time to rejoin the world and not hide. “With this song I imagined the gold from the rocks pouring into a ‘Sea of Gold’ where we would connect. To be more personal, it would help me share my music with people in a bigger way and not get trapped behind the barriers of my psyche.” She concludes that similar sparks of information drove much of the process. “Because I was doing film music, I was being guided by other people’s needs, responding their direction, art and inspiration. I would get into my studio at the end of the day and just fuck around and most of this came from this longing to play and have fun with music.” Haydn’s vision is illuminated in the richness of the textures, the pulsating imagery and the vibrant alchemy that glows within the charmed sonic landscape of LiliLand. “I am always drawn to both intensely emotional and playful stuff,” Haydn concludes. “That’s what life is like when it’s rich.” Contact Mike Gowen, MSO PR, mgowen@msopr.com, 818-380-0400 ext. 225
30 September 2014
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TH AUDIO ENGINEERING SOCIETY INTERNATIONAL CONVENTION
LOS ANGELES CONVENTION CENTER, L OS A NGELES , C ALIFORNIA , USA C ONFERENCE : O C T . 9 – 12, 2014 E XHIBITION : O C T . 10 – 12, 2014
If It’s About LIVE SOUND, It’s At AES! Whether you are in the hot seat as FOH engineer mixing to a crowd of thousands, in an intimate local club mixing your favorite band, or handling the audio for a house–of–worship facility, the upcoming AES137 Convention in Los Angeles is your one source for all things audio. With three days of exhibits, the Live Sound Track, and the NEW Live Sound Expo, plus four days of workshops, technical papers and program content tailored to the current audio and communications landscape, once again, the AES Convention will be THE audio event of the year and cannot be missed. Our new Live Sound Expo at the 137th Convention offers expert advice for the broad spectrum of live sound engineers (some 25% of Convention attendees) with an emphasis on the practical, bringing professionals with decades of experience to the stage to inspire and educate attendees. Topics in the Live Sound Track and Live Sound Expo include: + !& $" # % " ! &# % ! + ## * ! #$&$ # !# + %(!# $ , $ $ + #$% % *$% #* ! ) !# # ! %!#$ + & % $ !# % + $% !& , - % ! ! %#! %* % %* + & ! %!# ) So rather than simply reading about it, sign up for your FREE Exhibits-Plus Badge, which gets you into the AES Exhibition, Special Events, Live Sound Expo, Project Studio Expo and more.
If It’s About AUDIO, It’s At AES!
For more information and to sign up for your FREE Exhibits–Plus Registration, visit our website at: www.aesconvention.com/137MC Photo courtesy of ATK Audiotek (top) and Christian Heilman (bottom).31 September 2014 musicconnection.com
DROPS
Two-time Academy Award nominated composer Marco Beltrami’s original score for the motion picture The Giver recently dropped on Sony Masterworks in digital format, with a CD release date of Sept. 12. The film, based on the novel by Lois Lowry, stars Jeff Bridges, Meryl Streep, Alexander Skarsgard, Katie Holmes and Taylor Swift and is about a colorless, seemingly utopian world with a secret past. Beltrami’s soundtrack features 20 original compositions. The composer’s past work includes 3:10 to Yuma and The Hurt Locker. For more details, contact Beth Krakower with CineMedia Promotions at Beth@ CinemediaPromotions.com.
FASHION ROCKS the film delves into Nasir bin Olu Dara Jones’ support from the Queensbridge neighborhood and younger brother Jabari “Jungle” Jones, family history (the artist is the son of jazz musician Olu Dara) and how Nas’ debut record came to be a benchmark in hip-hop 20 years after its release. Brandon Rohwer with Tribeca Film can provide more information; BRohwer@ TribecaFilm.com or 212-941-2038. Three Lions Entertainment has announced the return of Fashion Rocks in a two-hour special at Barclays Center in Brooklyn, which will air live on CBS on Sept. 9 from 9-11 p.m. ET/PT. Emmy Award-winner Ryan Seacrest will host, and Don Mischer Productions will produce the show, which celebrates the union of fashion and music. Featured stars include Afrojack, Duran Duran, Jennifer Lopez, KISS, Miranda Lambert, Nico & Vinz, Pitbull, Rita Ora, the Band Perry and Usher. Email Susan Portnoy of Three Lions Entertainment/Fashion Rocks at Susan. Portnoy@Gmail.com for more information. Nas: Time is Illmatic, a film tracing the influences and obstacles of the hip-hop artist during the creation of his 1994 landmark debut Illmatic, opens in theaters Oct. 10 and will be available on demand starting Oct. 3. Directed and co-produced by multimedia artist One9,
Leave the World Behind, a documentary on electronic dance trio Swedish House Mafia, will be available in the U.S. and Canada for the first time on DVD and Blu-ray on Sept. 2. The digital release topped the iTunes documentary chart in 34 countries this spring and was well received at exclusive premieres in several countries. Directed by Christian Larson and executively produced by Jonas Akerlund, the film documents the
NAS 32 September 2014
The Los Angeles Philharmonic Association and Gracie Films will premiere The Simpsons Take the Bowl! on Sept. 12 and 13, at 8 p.m. and Sept. 14 at 7:30 p.m. at the Hollywood Bowl. Hosted by Hank Azaria, the event will feature special guest appearances by Nancy Cartwright, Beverly D’Angelo, Jon Lovitz, Yeardley Smith, “Weird Al” Yankovic, Matt Groening and more. The Simpsons, which has aired more than 25 seasons, is the longest running scripted series on television and selected scenes and favorites will be shown at the September event on the Bowl’s big screens. Clips will be shown with live accompaniment by the Hollywood Bowl Orchestra, conducted by Thomas Wilkins. Get more information by emailing Sophie Jeffries at SJefferies@LaPhil.com.
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group’s decision to call it quits to salvage their friendship in the midst of a final world tour––the largest worldwide electronic dance music tour in history with more than a million tickets sold in one week. The trailer for Leave the World Behind can be watched at http://YouTube. com/watch?v=CGBNJmxJPTc. LBlum@ ShoutFactory.com for more information.
OPPS
Bands, singer/songwriters, comedians, actors and more can guest on The Michael Nayt Show, a recorded podcast and radio show aired Monday nights and found at http:// NewVisionsRadio.com/2014-02-26-19-59-03/ The-Michael-Nayt-Show. The show reaches approximately 1,800 listeners. Email TheMichaelNNaytShow@ Yahoo.com for more details. Connections Show, a radio broadcast and recorded podcast, is seeking creative entrepreneurs and artists of all types to guest on the show and share their experiences as independent, self-made professionals. Connections Show reaches a primarily male audience. Email Jason Pockrandt, the show’s host and producer, about booking inquiries at Jason@JasonPockrandt.com or set up a time to chat via Skype at MeetMe.So/Connections. The show URL is https://iTunes.Apple.com/us/podcast/ connections-show/id749114884?mt=2. Performers, authors, filmmakers, musicians, songwriters and comedians are all welcome guests on Sandy Kastel & Friends Variety Show with Chef Michael. The video webcast, recorded podcast and radio show airs out of Las Vegas and can be found by visiting http://
– JESSICA PACE j.marie.pace@gmail.com SandyKastel.com. Email SandyKastel@Gmail.com for booking inquiries, or call directly at 702-348-5707.
PROPS
Mun2, the modern general entertainment cable channel for Latinos with a mix of original dramas, exclusive premiums sports, blockbuster movies, live events and strategic acquisitions, was ranked the No. 1 Hispanic cable network among adults age 18-49 this summer with the new episode of Larrymania, a reality series following the life of Latin music celebrity Larry Hernandez. The series reached an average 118,000 adults in said age group for its full run, which is the highest average for that demographic in network history. Larrymania has reached a cumulative audience of 2.3 million viewers to date. Clips can be found at http://Mun2.tv/larrymania. Contact Debbie Lazo at 818-622-4066 or Debbie. Lazo@NBCuni.com for further information. Metal maven and master of horror Rob Zombie is looking to the public to fund his latest film, 31, by launching a crowdfunding campaign through which contributors can reap rewards for
On Aug. 16, at the Egyptian Theatre in Hollywood, the American Cinematheque, Amoeba Records and Santa Monica Press presented the world premiere of Pushin; Too Hard, a new film from GNP Crescendo Records that gives props to ‘60s rockers, the Seeds, who spread a web of sound from the Sunset Strip to the rest of the country with such anthems of teen frustration as “Pushin' Too Hard” and “Can’t Seem to Make You Mine.” Fronted by the sneering, attitudeladen Sky Saxon, the band would help lay the groundwork for punk. This documentary was directed by Neil Norman, who as a teen witnessed the band’s dealings at his father’s GNP Crescendo label. It follows the quartet’s bizarre odyssey from rags to riches to rags again—and ultimately their rediscovery by new generations of garage-rock fans—using vintage TV and concert performances, rare photos and recent interviews with all of the group’s original members, as well as fans and observers
ROB ZOMBIE supporting the film such as autographed posters, selected props from previous Zombie films, a donator’s name in the film’s credits, a lifetime pass to Zombie’s shows and an opportunity to be an extra in 31. The director, who has made six feature films, says crowdfunding is a great way to engage with fans, who can expect creepy clowns in his latest film. Zombie’s funding
Out Take
campaign site can be found at http://Fanbacked.com/c/31Rob-Zombie-Film. Contact Pam Nashel Leto at 212-989-2222, ext. 111, or email her at Pam@ Girlie.com.
including Iggy Pop, Kim Fowley, Johnny Echols of Love and Bruce Johnston of the Beach Boys. For complete details, see http:// PushinTooHard.com. JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie. pace@gmail.com.
James Levine Composer
Email: Jana Davidoff, Jana@CW3PR.com Web: NA Most Recent: American Horror Story: Freak Show Composer James Levine moved to Los Angeles after college when he was 22 years old, interning for Hans Zimmer and scouting for gigs scoring for film and TV series. In 2003, a music supervisor PJ Bloom heard Levine’s work and suggested the composer to Ryan Murphy, the producer of then-new television show Nip/ Tuck, which became Levine’s first gig and the beginning of a long working relationship with Murphy, who created American Horror Story in 2011. Levine scored all three seasons and is now working on the fourth, Freak Show. “When he did American Horror Story, I had to prove that I could score a horror series, and fortunately they really liked it,” Levine says. “I love working with Ryan and that collaboration is always exciting and challenging. He brings such a level of creativity and risk-taking to his projects. I love to collaborate with any producer willing to go someplace different.” At the beginning of each season, the composer and the directing crew worked to establish a musical tone to fit specifically with the setting and characters. “Usually,” says Levine, “Ryan has a clear picture of what he wants the sound to be. It’s not always typical. Sometimes it is more traditional like Season Two, where we try to spin a lot of traditional techniques from the horror genre, to season three, Coven, where he wanted it to be a very electronic-sounding score.” According to the composer, each season is his favorite, and while working on each he “puts the blinders on” and becomes immersed in characters. “The biggest challenge is to find new ways to do horror that aren’t so obvious or traditional and try to find ways to use music to play not only the fright factor, but to play the characters, because they are such wonderful actors, and the parts they play are so deep and complex. I want the music to reflect that and work behind their eyes, to come from within and reflect the essence of them, as opposed to just playing with the horror clichés.”
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The Crüe Calls It Quits
DAVID KLEIN
You can’t discuss Music Connection’s ‘80s era without mentioning coverboys Mötley Crüe. While we’re sad to see them throw in the towel, we’re happy to see them do it the right way: sharing the stage with Alice Cooper and giving fans one last Kickstart to our Hearts. Pictured is Tommy Lee.
Starr Shines At The Greek
KEVIN ESTRADA
Ringo Starr wrapped up his latest All-Starr Band Tour at L.A.’s idyllic Greek Theatre where, under the summer stars, the former Beatles drummer and his stellar group (Todd Rundgren, Toto’s Steve Lukather, Santana’s Greg Rollie, Mr. Mister’s Richard Page and acclaimed drummer Gregg Bissonette) delivered spot-on renditions of hit after hit. For his part, Starr covered early rock & roll tunes “Boys,” “Act Naturally” and “Matchbox” as well as his own nugget “Photograph.” For the event's closer, “A Little Help From My Friends,” Edgar Winter, Jeff Lynne, Glen Ballard, Ben Harper and others came onstage to join Starr in the merriment.
Portland’s MadAlice Shows Skin
Portland’s up-and-coming hard rock/metal enthusiast MadAlice recently hosted a party to release the music video for her single “Skin.” Now with an EP under her belt, the artist is relocating to Los Angeles to begin tracking material for a full-length. See the video at http://youtu.be/kabKzWZESMQ.
Keep Calm and Vibe On
34 September 2014
KCRW “Countrifies” LA
SCOTT PERHAM
Bridgeport, CT was recently inundated with a hippies and hipsters from all around the country coming together for the 19th annual Gathering of the Vibes. The four-day camping festival featured a diverse array of artists on two stages, including Ziggy Marley, Widespread Panic, Dispatch and John Fogerty. Once again emceed by the ever colorful Wavy Gravy, the Vibes continues to provide a place for the Grateful Dead community to feel at home.
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KCRW and the Annenberg Foundation united to launch their summer concert series, “Country in the City.” The free concerts were inspired by the Annenberg Space for Photography’s newest exhibit, “Country: Portraits of an American Sound.” Performances included artists such as Greg Allman and Wynonna Judd to Shelby Lynne and the Jamestown Revival (pictured). KCRW endeavors to curate a unique mix of content centered around music discovery. The Annenberg Space for Photography is dedicated to exhibiting exceptional photography.
– ANDY MESECHER andym@musicconnection.com
OUTSIDELANDS 1
Tidbits From Our Tattered Past
2
1984–Lone Justice–#4
3
Sounds Beneath the Fog: The annual San Francisco festival, Outsidelands, recently came to a close. Headed by the usual suspects: Tom Petty, Flaming Lips (2), Kanye West, the Killers, Death Cab (5) and Macklemore & Ryan Lewis, many festival goers couldn’t take their eyes off up-and-comers Haim (1), Lucius (3), Chromeo (4) and Nahko and Medicine for the People (6). Get a complete wrap at http:// sfoutsidelands.com. Photos By Jim Donnelly
4
MC featured new breed country rockers Lone Justice on our cover, fronted by Maria McKee and Ryan Hedgecock, and discussed how the band started out by covering songs by George Jones and Rose Maddox. According to the band's Hedgecock, "We're hoping the traditional country people and the rock & roll people will like us." Also in this issue is a profile of future NARAS president Neil Portnow and a club review of Los Lobos.
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1993–Blind Melon–#18 6
In this cover feature on Blind Melon, frontman Shannon Hoon mused on the creative process. "Songwriting is the way I reflect, but it's also like a great-tasting candy––you have to be careful not to eat yourself sick with it." The issue also features a club review of the Verve with Richard Ashcroft and a "new artist" profile of Lauren Christy (the Matrix).
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l-r: Tyler Hubbard, Brian Kelley Photo courtesy of Republic Nashville
Country’s Hottest Duo Goes Big By Dan Kimpel 36 September 2014
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HIP-HOP AND ROCK-INFLUENCED remixes with Nelly and Jason Derulo: This is definitely not your father’s country music. And as a result, Florida Georgia Line (FGL)—a duo composed of Tyler Hubbard and Brian Kelley)—is smoking hot. Here’s to the Good Times, their 2012 full-length twotimes platinum debut, has so far tallied over 15.7 million tracks with their party anthem “Cruise� selling over seven million downloads alone. Their latest single, “Dirt,� from their upcoming full-length, hit No. 1 on the Country charts and debuted at No. 11 on the overall Billboard Hot 100, marking the highest entrance for a country duo in this chart’s nearly 56-year history. Having recently wrapped their second headlining outing, FGL are calling in from Pennsylvania where they are on the road with Jason Aldean on his “Burn It Down� tour. In this exclusive MC interview, Hubbard from Monroe, GA and Kelley from Ormond Beach, FL discuss their shared histories at Belmont University; how their initial signings as songwriters were a crucial key to their success; and the organic chemistry that currently makes Florida Georgia Line country’s brightest success story.
That’s what is so addicting about songwriting and why it is a passion of ours. MC: We know that Big Loud Shirt, the company founded by songwriter Craig Wiseman, originally signed you to publishing deals. What did Craig––a very successful writer–– teach you about your craft? Tyler Hubbard: How to write a big ‘ol hit! All joking aside, he’s just got a way of continuing to write commercial country hits, and he does it in his own style. He’s all over the song. One thing we both learned is that when Craig writes a song, he doesn’t wait for the producer, or a guitar player to come up with the riffs. He does it all himself, or it’s in the songwriting session. I think we’ve taken that into our process, to get our creativity out in every song. The goal is to have it as close to ready and done as it can be. Sometimes a song doesn’t need much production and sometimes it does.
 “We  used  to  write Â
Music Connection: Your new single “Dirt� is reflective and thoughtful. It seems like a shift from the rowdy country party anthems on your debut.
MC: You co-wrote Jason Aldean’s current single, “Burning it Down.� What was the decision to have him record it, as opposed to FGL?
DERXW ¿YH VRQJV D ZHHN  DQG ZHœG SOD\ ¾HP DQG \RX Hubbard: That’s a song we wrote back. We were going FRXOG SUHWW\ PXFK WHOO IURP WKH atowhile record it, but it felt better for Jason. We pitched it and he FURZG UHVSRQVH ZKLFK VRQJ  wanted it. As songwriters, we’re always writing, either for ourselves ZDV ZRUNLQJ DQG ZKLFK  or for someone else. We try to put the song in the best hands. RQH ZDVQœW ´  MC: Coming up in Nashville, did you –  Brian  Kelley
Brian Kelley: Everyone is asking if “Dirt� is a departure, but I think it’s a return for Tyler and me. If you listen to a lot of early demos, or our older songs, it’s really more where we came from. It feels like country music, it feels like now, it feels like Florida Georgia Line, and like something that nobody else has. It’s a song that we just connect to. It’s such a live song. And we just felt a strong connection the first time that we heard it. It’s one of those songs that we call when we get to the chorus “chill bump city.� Rodney Clausen and Chris Tompkins wrote the hell out of it, it’s incredible to watch the crowd. The song hasn’t been out long, but it continues to get stronger and stronger. It’s just an emotional song and so fun to play. MC: You were first signed not as artists, but as songwriters, correct? Kelley: Yeah man, we’re writers at heart. We were writers before we were artists. That’s our passion. We will always be songwriters. We try to make time for it out here on the road. We write any time that we can. MC: What are your diverse, or similar strengths in creating songs? Kelley: I think the reason this is working so well––and it has right off the bat––is we’re both skilled enough to come up with melodies, lyrics, riffs and loops. We’ve both been in bands and we enjoy different genres. Our brains work in different ways, but we’re on the same wavelength. The thing about songwriting is that you never know when the idea is going to come, and where it is going to come from, so you have got to be ready for it. Whether that is writing an idea down, recording it on your phone, humming a line or holding onto it until you get with the right writers to write it with.
make the rounds of the songwriter nights and open mics?
Hubbard: That’s how we both got our start, playing songwriter nights at Club Indigo in Nashville. We developed a little fan base. Playing clubs like 12th & Porter, The Rutledge and all over Nashville. Those years are very instrumental in where we our now, cutting our teeth, working with a band, learning what songs not to play. MC: What not to play? Kelley: Believe it or not, we haven’t always been hit songwriters. We used to write bad songs. MC: Did the live audience indicate to you which of your songs were working best? Kelley: Pretty much, man. We used to write about five songs a week, and we’d play ‘em, and you could pretty much tell from the crowd response which song was working and which one wasn’t. MC: We know that you both attended Belmont University, known for its strong music business curriculum. What were your majors? Hubbard: My major was music business and BK’s was entertainment industry studies, pretty much the same thing. MC: How effective was your education in preparing you for your careers? Kelley: Belmont was a great experience for both of us. I
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Quick Facts “Cruise” is the longest No. 1 ever on Billboard’s Hot Country chart. FGL’s No. 1 single, “This Is How We Roll,” was re-released this past June as a remix with with Luke Bryan and Jason Derulo. FGL’s awards include the American Music Awards (Single of the Year); ACM Awards (Vocal Duo of the Year, New Artist of the Year & New Vocal Duo or Group of the Year); CMA Awards (Vocal Duo of the Year & Single of the Year); CMT Music Awards (Duo Video of the Year, Collaborative Video of the Year & Breakthrough Video of the Year) and FOX’s American Country Awards (Artist of the Year: New Artist, think we learned the most in songwriting classes that we had, and a little bit of publishing. I think we both wish we would have paid attention a little more. And there is something to be said for going out and doing something. You learn the most when that happens. Belmont helped us get our feet wet, and in the relationships and with the contacts that we made. But getting out on the road, learning the hard way, and learning on our own has been the best way. We said, “Let’s go play for anyone who will have us,” and work out butts off and try to
Single of the Year, Single of the Year: New Artist, Music Video of the Year: New Artist; Most Played Radio Track & Most Played Radio Track: New Artist). Hubbard’s hometown, Monroe, GA has just over 11,000 inhabitants. Kelley’s town, Ormond Beach, FL has 38,000. Florida Georgia Line’s producer, Joey Moi, is a Canadian known for his work with the rock band Nickelback. As a songwriter, he has had cuts with Tim McGraw and Daughtry. FGL is managed by Chief Music Management #505-1250 Homer St., Vancouver BC, Canada V6B 1C6, 604-602-8922, http://chiefmusic management.com. Chief operates in partnership with Big Loud Mountain, http:// bigloudmountain.com. surround ourselves with great people and a great team. God’s been really good to us. MC: Genre wise, Florida Georgia Line crosses boundaries: bringing hip-hop and rock elements into country. Kelley: Yeah man, our influences are all over the map––we grew up listening to hip-hop, rock, Christian––country obviously––so all of the influences are meshed together into whatever you want to call it. When we’ve worked with Nelly and Jason Derulo it has
been a great opportunity to bring those worlds together. MC: The country listening demographic has become much younger these days. To what would you attribute this change? Kelley: I think the sound of country is changing––there is new music out there and it’s different. We’re a little younger than some of the artists––it doesn’t make it better or worse; the music’s different, younger kids are going to listen to what they relate to. And I guess for some reason that’s us. Ever since day one Tyler and I said, “Let’s write real music that’s us.” We like to have a good time, drink some Jack Daniel’s, play real music, hang with our friends, and that’s the kind of music we want to make. We want to be good people. Our parents raised us really well; faith is important to us, and that’s how we want it to come out in our music. MC: Speaking of younger audiences, what part does social media play in your relationships with your fans? Hubbard: It’s a cool way for us to connect with the fans. They’re pretty open. They spill their hearts out. So social media is a good way for us to connect, communicate and for them to understand what we’re doing. People just want to feel connected and to feel like they know what’s going on in our lives. It’s also a really excellent way to grow the FGL fan base.
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MC: Country haveattraditionally Khalifa: I reallyartists don’t look anybody in been the gamefan-centric as a mentor, because really trying very with artists I’m meeting fans after to outdoand anybody thatbeing I’m seeing right now. I shows, overall, very accessible. would say that people inspire me when I see their work and I see how good are at what Hubbard: Absolutely. There is they something they do. There’s a lot of itpeople whowe are really different about the way is. When think generous with knowledge other things, peoabout country music fans and they’re passionate, ple who I respect I look E. have Dan loyal, love to partyand andwho crazy as up hell.to.We [producer, Eric Dan]. And homey Sledgren people waiting outside themy buses. That’s the [also producer] for sure. Will, who’s my best coolest thing; that people are into what we’re friend and my tour manager––we basically built doing. It’s a fun time in the music business. our business together––and all my artists who Country is hot as hell, and we want I’ve signed inspire me to make me trytotokeep be betpushing ourselves. We have a lot of confidence ter in some way, shape or fashion. and it’s helped us make a lot of music.
“I don’t just go on the Internet and tell an artist, Kelley: The way we look at recording an ‘Hey, music, album is Itolike recordyour as many songs assign we can. We like big sounding commercial country to Taylor Gang.’ I gotta money-making songs to be singles. be Theya feel good. We try to pack as many of those fanweof music, the artas canyour on an album. We’re doing a few things out of the box. It’s a difficult task to work. I gotta wanna walk pick singles. MC: Going back to your newest single “Dirt.� through your neighborhood It’s written by Rodney Clawson and Chris Tomkins, as opposed to being a song that with you.� MC: In the next month, we will be hearing more about your new full-length album. What can fans expect?
need something from them later, for so where just don’t instrumental in our relationship takeare anything personal confidence we today. Tyler andand I arehave always on the in you’re ownItbusiness structure. That same page. was an hour to drive outreally there helps push meand forward. to leadtoworship, we were spending more
money than actually making it. Looking back, MC: Any words it was aninspiring awesome timefor forartists us to who growread and to Music Connection? connect creatively.
Khalifa: I would say don’t take anything personal; have confidence in your own business strucMC: Brian, pitched at Belmont. ture and justyou be aware of baseball your surroundings. Are anyyou connections that you can draw You there learn as go; everybody’s story is their between being theone mound and experiences being on own so you can’ton take person’s the and stage? make guidelines out of that. It’s the energy that you put out, you get back.
Kelley: There is, man. I bring the same intensity and24 forces have aon good MC: On July you’lltoembark the time Underwith theit. Pitching isof90 percent I think thisJeezy, music Influence Music Tour,mental. featuring Young Tyga, Dolla $ign mental. and Rich Homie Quan.the It’s game Ty is extremely You can have like areor Perry Farrellnews. and this is yourhaving Lolbestyou news the worst If you’re lapolooza. How do you manage the responsibility a weird day, or someone says something that
of a line-up? hitscurating you wrong, you can mess up our day, but Khalifa: like up I said, gotta stepwe up,hit you you can’tIt’s mess ouryou stage. Once that, have takeEverything’s ownership. I’m one hundred percent it’s gototime. clear. involved. We handpick the lineup, just making it the it can be, I’m even meeting people MC:best Andthat working in front of these massive who say, “Hey, man, want to go on tour with audiences must be Iamazing. you,� and then I’ll get a phone call from them like a week later asking to go on tour. It’s that Hubbard: We always try to go big. Even if real. And I’m not just putting you on tour and I’m we’re playing forbus only a thousand gonna be on my and you’re not people going towe see give it 110 percent literally play the me. I’m getting theseand kidswe high as hell. I made same show that we would play for 75,000 Rich Homie Quan throw up off a dab yesterday people. beendown. our mentality. Weliving try to already, That’s so it’s going We’re really play every show. this shit andshow that’slike the it’s bestour partlast of it. This There’s is real no feeling us than looking outlook and life better man and we’refor loving this shit. Please seeing 75,000 people singing out for the tour––get your tickets!along. ContactErin Greg Contact D.Cortez, D. Burr, greg.cortez@42West.Net Big Machine Label Group, 615-250-6636 erin.burr@bigmachinemail.com
the two of you collaborated on. Are you motivated to include songs that fit the FGL MC: How do inspire the they artists that you’re definition no you matter where come from?
helping? Khalifa: I give same knowledge and songs, I’m Hubbard: Ourthe fans deserve the best open with people so theywe don’t have to go regardless of whether write them or through the same thingsat that I’ve gone through. other writers do. Look Garth Brooks: You have to have people that you he’s the ultimate entertainer. Helove can there write with youand because this is athem lot ofand work, youand know songs he can pick sing what I’m saying? It’s once inThat’s a lifetime, entertain like a madman. how and we some of this stuff we never even dreamed of want to mold this. Our fans deserve the doing or imagined, so you gotta share that stuff best, and that’s the end goal. with people who it really matters to. I think it’s a combination of all of that and staying real, and MC: What new songwriters in by Nashville staying influenced and inspired real things, should be aware and not we getting caughtof? up in the business or being famous or the next career move, or what the Kelley: affiliated with people Big Loud best life Anyone moves are and having around Shirt. Matt Dragstrem, Nicolle Galyon, who promote that. E. Dan always showedCindy me Robbins, Corey Crowder––the of good the way when it came to that, forlist sure.
writers in Nashville is too long to mention.
MC: You’re talking to us from the studio where you’reDo working on your album, MC: you have timenew off the roadBlacc for Hollywood; since wesessions? haven’t had a chance to hear multiple writing it yet, can you tell us about it? Do you have a favorite or one that The sumsday it up? Kelley: line, Not any more. that we wrote Khalifa: I’ve alwaysthree beensongs. the type of can’t artist do that “Cruise� we wrote We you what’sIf going on intomy through that know any more. we have welife will, but wemy music. So I’m going keepWe’d that, rather and there’s don’t have to do thattonow. have definitely an artistic approach to each project, one song that was slamming. When you do, and that’s the main focus, that’s what’s most you thank the songwriting gods. important. I want everybody to interpret it their own way. I don’t know if I have a favorite line. MC: Part ofsong your called shared experiences Oh! On this “Wheezy.� The big includes leading music for worship services. thing that has to do with my shit sometimes is How didI that figure into the Florida Georgia the way say something. I can say some shit, Line but I’llhistory? say it really crazy and I’ll be wild. In this part of the song I say, [sings and elongates the Kelley: We both and if you lead words] “They say Iled runworship, the game. Lit-er-ally. I’m people worship you can lead themThat to about tointo go insaaaane, mental disease.� describesand the to album. partying your music. Coming up we
played a lot of different places. We grew up MC: How do youmusic handleas obstacles or setbacks loving Christian well. It was a way in foryour us tocareer? make a little money and give back, Khalifa: I just take working anythingtogether personal. and every daydon’t we were Iand know that everything is based relationwriting our own songs andon practicing ships, and you can’t ruin relationship for leading worship, and athat was veryover one or two things. You might really, really
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September August 2014
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Don’t Piss Off Your Fans with Bad Social-Media Moves! The average artist sucks at using social media. Instead of attracting fans, they repel them. We would like you, our reader, to avoid that fate, so we assembled a “Music Connection Social Media Think Tank” composed of experts, artists and fans who will guide you to social media prominence. B Y B E R N A R D B A U R
Social Media Graph Courtesy of LaFamos PR & Branding 40 September 2014
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THE EXPERTS
ARI HERSTAND (AH) writes “Ari’s Take,” a music business blog (http://aristake.com) that helps independent artists. The blog is based on his experience as a working musician (over 500 shows), as well as his artist development company, Proud Honeybee Productions. BOB BAKER (BB) is an author, musician and social media marketing expert (http://bob-baker. com) who is dedicated to helping musicians connect with fans and sell more music. His books include, Guerrilla Music Marketing Handbook and Guerrilla Music Marketing Online. BOBBY OWSINSKI (BO) is a music industry author with 23 books in colleges across the nation, including Social Media Promotion For Musicians and Music 4.0: A Survival Guide For Making Music In the Internet Age. HUNTER SCOTT (HS) is the founder and head of LaFamos PR & Branding. He also teaches “Internet Marketing” at the Musicians Institute in Hollywood, CA, and hosts workshops that
explore “The Secrets of Social Media Success.” His company recently formed a new division, “TrendSocial,” dedicated exclusively to social media. (See http://lafamos.com.) Can Artists Do Without Social Media Today? AH: We’re in a new era––everything has shifted to a DIY indie mode. Now artists have to manage their own careers and fans determine who is successful. And today social media is the best way to connect with fans. But to do that you need to manage your time and devote at least an hour every day to your social networks. BB: Social media is very important. It’s a big chunk of any marketing campaign. And although people say the playing field has leveled in the music business, it really hasn’t because everyone plays the game differently. If an artist uses social media the right way, they will have an advantage over their competition. But, artists shouldn’t make social networks their only online presence. They should also have their own personal website as the hub for all social media. Do Artists Need Their Own Websites Anymore? BO: Absolutely. A social networking medium can change the way it operates without notice. We see that with Facebook on a regular basis. And don’t forget all those other sites, like MP3. com and Myspace, that were so popular but now are either gone or near dead. With your own site you have total control over content, your image and how you interact. HS: At the very least artists should own a domain name, even if they can’t build their dream site yet. Even something simple is better than nothing. That way they can have a professional looking email address and have a landing page.
SOCIAL MEDIA 411 Social Networks (List of 100+ sites with description, number of users and global ranking) http:// en.wikipedia.org/wiki/List_of_social_networking_websites Virtual Communities with Over 100 Million Active Users (20 of the top sites in the world) http:// en.wikipedia.org/wiki/List_of_virtual_ communities_with_more_than_100_million_users Hottest Social Networks http://music3point0.blogspot. com/2014/02/the-hottest-social-networktoday.html Twitter Engagement Tips http://www.quicksprout.com/2013/12/06/ how-to-increase-your-twitter-engagementby-324/ YouTube and Music http://music3point0.blogspot. com/2014/04/youtubes-affect-on-musicbusiness.html
Must Artists Be on Every Social Network? HS: Most acts try to use all the popular ones, but you should really focus on where your fans go, the sites they frequent. Different sites attract different types of people, and artists need to know what sites their fans like. BB: They should at least have a profile on the most popular ones. But, they don’t have to spend equal time on them. Artists should think about how they communicate best. That will determine where to focus their efforts. There are four methods of online communication: text, audio, still images and video. Figure out what works best for you and go to the site that suits it. How Do Artists Misuse Social Media? AH: Too many acts use it like a megaphone, constantly promoting themselves and asking people to do something for them. That gets old fast and it’s no fun [for fans]. You should encourage conversation, ask questions and give people a reason to engage. HS: Sometimes acts can sound like used car salesmen––always selling. That turns people off. You must engage people if you want to build a fan base. The “80/20” rule is a good start: 80% of the time you should be socializing. Then, you can spend 20% of the time promoting something.
CONTINUED ON NEXT PAGE
SOCIAL MEDIA TACTICS THAT WORK 1 Know Your Fan Base You need to know “who” your fans are, what they like and what they think. If you hope to use social media effectively, you need to analyze your base––because fan bases are not all the same. It takes different methods of communication and marketing to appeal to different bases. 2 Choose The Right Social Network Not all social networks are the same. And, some fan bases prefer one over the other. By knowing your fans, you can choose a social media site that is relevant to your brand, fans and music. 3 Share a Compelling Story Fans don’t just want to listen to your music––they want to know about you as well. Although talking about your art is fine, don’t stop there. Take them behind the scenes. Tell them what inspired the lyrics to a song; examine issues that resonate with you; reveal some of your quirks (especially if they’re funny); and, don’t forget hobbies or jobs that might surprise them. If you’re as creative with your fan communications as you are with your music, you’ll bond with them. 4 Give Fans an Experience Successful artists offer something greater than just their new music––they offer a new and personal experience not available anywhere else. It may be added-value packaging, or even some one-on-one time. Give it thought and find out what your fans enjoy. 5 Make Fans Feel Special Everyone likes to be treated like a VIP. Invite a select number of fans to share some time with you. Show them how a show is put together or a song is recorded. Make them feel like they’re part of something special and they will help you succeed. 6 Embrace Change The music business is evolving, and almost every day some new technological advance appears. Sure, change can be intimidating but it can also present new opportunities. So keep up with the latest developments––especially regarding the music industry––and see where they might lead you. Who knows…you might even become a visionary.
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BO: Some acts don’t have a clue as to who they are and can’t brand themselves. They’re just like everyone else, there’s nothing distinctive. If an act lacks self-awareness they should ask other people for feedback. It might inspire them. Even using consistent colors and fonts is a start toward an identity. AH: Posting too often and blasting it to every social network is irritating and insulting. Besides, each social media community has its own etiquette and nuances. You need to work each one differently to get results. How Should Artists Use Social Media? BB: It’s not always about the music––it’s about relationships. Find people with common interests (food, animals, art, etc.), make a connection and go from there. Also, photos, quotes and videos generate more responses than text posts.
DARIA MUSK HS: Social media can provide invaluable analytics. You can find out who your audience is and where they’re from. That’s important information for touring and distribution. Should Artists Buy Numbers? AH: It’s tempting because you get immediate results, but it’s really smoke and mirrors. If you want a sustainable career, you have to have real fans. HS: Buying numbers is the worst thing an artist can do. Their viral rate will go down because fake fans don’t like, share, tag or post. Industry is especially sensitive to it, since they’ve been burned before. Furthermore,
What You Should Know About FACEBOOK ADS Facebook Ads encourage people to Like your FB page and become a fan. 1 The ads are easy to set up and priced to fit any budget. 2 The ads can target people based on location, interests, age and gender. 3 There are two main options: (a) “Get More Likes”––available for relatively new pages, and (b) “Build Your Audience”––for larger pages. 4 The amount you pay depends on how many people you want to reach. You choose the max amount you want to spend each day. 5 A bigger budget will reach more people. Example: $5 = 3 to 24 Likes daily; $10 = 5 to 47 Likes daily; $20 = 11 to 95 Likes daily. NOTE: the number of Likes is an estimate. 6 You can run your ad continuously or choose an end date, and you can stop whenever you want. 42 September 2014
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Facebook will punish you for it and YouTube will take you offline. BO: FB ads are a much better way to boost numbers. They can be targeted and are very effective.
THE ARTIST
Daria Musk is a Google+ Hangouts star with over 3.4 million followers and fans. Her live streaming concerts are marathons that last from six to eight hours. Her innovative approach to social media is so well recognized she’s been tapped to build social media campaigns for Audi, Verizon, Hedwig & the Angry Inch, and MTV’s VMAs. She’s also a spokesperson for a marketing program called “Empowering People. Amplifying Dreams” sponsored by CO-OP Financial Services. (Check her out at http://dariamusk. com and http:// plus.google. com/+DariaMusk/ posts.) Why Did You Choose Google+ Hangouts? It wasn’t a choice––it was a do or die moment. I was doing what every other artist does and it was frustrating. It seemed like social media was a box filled with people I already knew. Then my brother told me about Google+ Hangouts and suggested that I could be one of the first artists on it. So I became a member and decided to do a live concert. I invited my social network fans to check it out. Why Was It So Successful? At the time it was like an underground club for tech-geeks and I discovered they love to be entertained. They jumped in and started to help me with new tools and avenues to promote music. It was so exciting, I named them my “G+niuses.” Thanks to them, my career took off...fast. Why Are Your Online Concerts So Long? G+ Hangouts allows 10 people in the room, so I thought I would play 30 minutes tops. But, I noticed other people trying to get in. Whenever someone left a new person arrived, so I just kept playing and talking. After an hour people from all over the world were showing up and it became a 6.5-hour marathon. As a result, I have fans from almost every country in the world. Do You Use Other Tools and Sites? I use everything, including Facebook, Instagram and YouTube. I now embed my live streaming concerts in other places so an unlimited number of people can watch. I also like Soundcloud so my fans can interact with my music. They picked my first single “You Move Me,” and even created a multilingual intro for the song. How Much Time Do You Spend on Social Media? I use it throughout the day and integrate it with everything I do. It’s my job now. I feel like I’m blazing a new trail that allows me to be totally independent and make a living as an artist.
Future Plans? Everything happened so fast. I didn’t even have an album, other than a live online LP and a few singles. So, I’m developing a show about making my first record and inviting fans into the studio with live Hangouts.
THE FANS
For the fan viewpoint, we gathered insights from students at the Musicians Institute in Hollywood. Stephen Brewer (SB) is a musician who has been in several bands. Supreeya Phuasakul (SP) is a digital media intern for Fearless Records. Do You Always Check an Act’s Social Media? SB: Absolutely. If I like an act enough I’ll check their web presence. I usually go to Facebook and YouTube to see what’s going on. What Do You Like to See There? SP: I look for their music, upcoming shows and activities. I also read their posts to see what they’re like and how they interact with fans. Are You Swayed by Numbers? SB: I am. Big numbers make them look more established and give you a sense that they know what they’re doing.
Which Activity Do You Prefer? SB: I like discussions. People like artists who talk to their fans. It is called “social” networks after all. I also like pictures, videos and fan albums. SP: I also like it when artists get involved with their fans. I think it’s important. What Gets You to Respond? SB: I’ll instantly respond to contests that ask questions or want my opinion. I especially like to win things that are signed by the artist, that I know are exclusive and couldn’t get anywhere else. SP: Me too... My favorite prizes are concert tickets, meet and greet passes, signed posters, CDs or just band merch. Which Activity Most Annoys You? SB: I hate it when an artist is constantly selling something or just ranting. I also don’t like seeing the exact same thing, word for word, on a daily basis. I know social media is used to promote, but anyone who is professional surely knows the “80-20” rule.
SP: I’m not. Just because they have a small following doesn’t mean their music isn’t great. I’ve liked plenty of bands with small followings.
SP: I agree. I don’t like multiple posts everywhere and retweeting and promotions that are really just self-promotion. But what I hate most are artists that buy Likes. I’m not fooled. If there’s no engagement, it’s suspicious.
SB: Well, I wouldn’t like a band less because of low numbers. But, if they wanted to hire me and didn’t have a strong social media presence–– that’d be a different story.
Which Approach Works Best? SP: Anything that gets fans involved, especially if incentives and rewards are part of it.
SOCIAL MEDIA ABUSE 1 You’re Not Socializing on “Social” Networks Unfortunately, way too many artists ignore the “social” half of the name and, instead, act like spammers. Using social media as a means of self-serving promotions kills any chance of engagement. You need to engage with fans instead of harassing them with hype, links and relentless sales pitches.
2 You’re Swayed by the Wrong Metrics Your “likes,” “followers” and “views” mean nothing if they don’t translate into real results. Instead focus on: (a) Your mailing list; (b) How many people you meet at your shows; (c) How many actually buy a CD or other merchandise. You need to convert folks into fans. If you have 1,000 fans who spend just $50 a year, you will have a nice business with a decent income. 3 You Post the Same Content on All Networks Different social media sites attract different people. People who use Twitter are different from people who use Facebook, and people who use Google+ are not like the others. Additionally, different sites have different interfaces—what looks good on one site may look terrible on another. 4 You Post Too Much Posts should encourage engagement. Indeed, one good post that generates comments, likes, shares or retweets is golden, whereas countless posts that get zero (or very few) responses are not only a waste of time, they can also hurt you. Posting too often can adversely affect your engagement level, credibility and reach—and may be dealt with severely by FB’s News Feed algorithm. 5 You Buy Numbers Social media is about community building. You want a community of “true” fans who will support you. Buying likes, followers or views might enhance your metrics, but it won’t replace the power of having true fans. If you have 5,000 likes/followers but no one is liking, sharing or commenting on your posts, there is no value to those numbers and everyone will know it.
The Pros & Cons of BUYING POPULARITY Today you can buy any metric that relies on numbers, including Likes, Views, Friends, Followers. But, there are pros and cons involved. Below are a few to consider.
PROS 1 You’ll Get Instant Credibility & Gratification If you created a new Facebook page, YouTube channel or Twitter account, the temptation to buy “Likes,” “Views” or “Followers” may be strong. It can give your online presence a quick boost. And, seeing your numbers explode overnight can be a real rush, and even give you credibility–– for a short period of time.
2 It’s Easy & Inexpensive You can buy hundreds of Likes, Views, Friends, or Followers for less than $10. For just a few bucks more you can generate thousands. Depending on your moral scale, it could be viewed as low-risk, high-reward.
CONS 1 It’s Not Sustainable The majority of numbers purchased are not real people, and you can’t sustain a fake population. Unless you have a plan, a phase two, that attracts “real” fans you will never gain traction. Additionally, FB has become diligent in tracking fake accounts and disables them, which means your numbers can disappear. 2 Your Efforts Will Be Wasted Social media is only valuable if your fan base is real and engaging with you. Without a genuine online audience there are no benefits or gains. 3 Engagement Will Suffer Fake accounts do not engage. As such, engagement metrics will suffer if a large percentage of your fan base is purchased. 4 You Can Get in Trouble There are a lot of scams involved in buying numbers and it could cause serious problems for you. Additionally, FB notes a resulting lack of engagement, which can adversely affect your News Feed. Moreover, industry execs and pros are on to the trick––they know the system can be gamed––and look for disconnects (like little or no engagement). Lastly, if you’re employed and your employer finds out that you purchased numbers, you could be fired. September 2014
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– ELLEN WOLOSHIN
F
rom indie artist to songwriter for the Backstreet Boys, Rihanna and Cher, LP steps back into the spotlight with her new release, Forever, For Now. On the day following her recent performance at New York’s Rockwood Music Hall, LP sat down with Music Connection to talk about her unusual journey from DIY musician to major label artist. Music Connection: Great show last night. LP: Thank you. It was great. It was a bit loud. I use an ear monitor and regardless of the best sound people, you never know what you’re going to get. For whatever reason the drums were going through my mind. But the audience was really cool and really receptive. MC: I don’t think anyone noticed a problem. LP: Live music is one of those things; you gotta take it for what it is, you know what I mean? I’ve even learned that recently doing television —you want it to be so perfect and you’re so scared and then you’re like if I flub up even a little—even if millions of people see it, so what—they’re going to go on with their day. MC: You did the right amount of talking and I would imagine it was fun to reveal a bit of your humorous side? LP: I’m in that stage we’re I’m opening up for a lot of people so it’s like 30 minutes your on, your off so I don’t get to open up and show who I am but when it’s my own show and people are open to hearing it, it’s fun to give people a little more of a window into what I’m like. My songs are very emotional and serious a lot of times so it’s good to show that I’m a sort of a goofball in my normal life.
MC: Do you feel that the opportunities are there for pop/rock songwriters since so many artists write their own songs? LP: Well, that’s why I think I started writing urban. I honestly didn’t think I was going to be an artist again so I thought I’ve gotta write all kinds of different stuff. I gotta write with urban people, I gotta write country, pop.
MC: Along those lines—there is often more than one career defining moment, but what break do you think created a sort of “sea change” for you?
MC: Is it hard to find people to collaborate with? LP: It’s hard to find better and better people. When I signed my first publishing deal I worked with everyone. Sometimes you never know. You can have a new person that’s great. I was a new person. Everybody needs a chance. Having said that, you don’t have to be the person that works with every new person.
LP
From DIY Musician to Major Label Artist
MC: A singer friend of yours described your new album as triumphant. It’s always a moment of triumph to complete something of that magnitude and feel good about it but this must be a milestone in another sense as well? LP: Yes. To finally have it out. [My friend] helped me because my perspective was so off on the record and like I said last night when you listen to something so much it’s hard to enjoy it again through your own eyes. It takes other people and your fans to show you the worth of it again because you’re already over it a little bit and kind of thinking about the next thing. MC: In terms of fans, at first you had to build them on your own. You had a couple of albums early on and you toured with a band 44 September 2014
which has its pluses and minuses. Is that how you really built your fan base? LP: Well, yes and no. I was a DIY thing and I was touring for three and a half years hardcore before I got my first major label deal and literally I never toured again. And I didn’t actually miss it. But I think having the (Citibank) commercial helped get another shot at a fan base.
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LP: Probably the biggest was the writing and the subsequent (Citibank) commercial of “Into the Wild.” It so resonated with who I was in every way and people could feel it and the exposure—I was kind of amazed by. I really saw the power of television. MC: How did your first cut with a major artist alter the course of your career? LP: The first one I ever got was a Backstreet Boys cut and that got people’s attention as far as another bump up. It got my attention because it was a song that I had written for myself in my first label deal and I thought, “Ah I can write songs and maybe they can be picked up.”
MC: What was it like to go back to being an artist especially on a different level? LP: It’s not that I didn’t have any fight left in me but there are only so many times you can say, “This is who I am and you need to listen up.” Honestly my dignity wouldn’t allow it. But the way that this [organically] came about, my dignity has been allowed to stay intact. There was a respect level from Warner Bros., my producer and my management that opened the world up a little bit and allowed me to be myself and I’m very grateful for that. MC: The song inspired by your mother (actually the title cut) is very beautiful. It reminded me of the score from a ‘70s movie. And the whistling, where did you learn to do that so well? LP: I’ve always whistled and I think in the last couple of years, because I’ve been putting it on record, I’ve honed it even more. MC: And the ukulele? LP: It opened a door in my heart and made me enjoy music again on a visceral level on my own, not for other people-just for me. MC: What was the best piece of advice anyone ever gave you? LP: One of the best things, I think, the advice I gave myself was not to force things. To be prepared and to work hard. I think when you force things, like in those movies that are about time travel—if you go back in time like in Back To The Future where he alters one thing and his sister starts disappearing in the picture—I think forcing things is the way that we alter how the universe is opening up for us. Contact Rick.Gershon@wbr.com
Godsmack
6
1000hp
Buckcherry
7
Fuck
Republic Records Producers: Sully Erna, Dave Fortman
F-Bomb Records Producer: Keith Nelson
Hard rockers perform best when staying true to form and, judging by 1000hp’s title track, Boston’s rock/metal scions have made this their modern mission statement. Lamentably, the follow-up to 2010’s goldselling The Oracle never rises above the disc’s glorious opener. Still, devotees will revel in the bombastic glory of righteous instrumentation backing singer Sully Erna’s brooding vocals, which simmer with a subterranean anger that curiously never erupts. Their radio-ready sound will delight devotees, but the rest of us will stick with the single. – Andy Kaufmann
Josh Todd and company have always been about shredding the envelope. They have remained an American rock & roll band that’s waved the middle finger in the face of music industry politics for almost two decades. There is an obvious theme to the six songs here and it is one that hangs between being totally pissed off at the world and laughing at the absurdity of it. For all the egregious use of vulgarity at play the songs are pretty strong. There is that trademark Buckcherry mix of streetwise punk and melodic riffage that should appeal to hardcore fans….. Censors be damned! – Eric A. Harabadian
Blonde Redhead
Ann Hampton Callaway
Barragán
Kobalt Music Producer: Drew Brown
5
Barragán, the ninth studio release from New York’s alt-rock trio Blonde Redhead, is certainly not for the faint of heart. It’s heady, otherworldly and challenging and will inevitably alienate those looking for a light, quick listen. Though it is just 10 songs long, the release starts to drag and gets quite convoluted about halfway through, creating a sense of redundancy that just fades into background sound. While it is admirable that this release is true to the band, it may only appeal to previous fans who trudge through its labyrinthine world. – Victoria Patneaude
Angus & Julia Stone Angus & Julia Stone
9
American Recordings Producer: Rick Rubin It’s never been about being the catchiest. For this Australian duo the songwriting has always focused on subtlety and tonality. On this, their third full-length, brother and sister Angus & Julia Stone team with Rick Rubin (Chili Peppers, Jay Z), adding a few new sketches to the blueprint, but overall remaining consistent to original form. Angus brings a more Petty-esque vibe to his vocals, while Julia tones down the “child-like” side of her whispers. Just like earlier releases, the more you listen, the more you fall in love. Standouts include summer groove “Grizzly Bear” and the bluesier “Crash and Burn.” – Andy Mesecher
Shabazz Palaces Lese Majesty
Sub Pop Records Producer: Tendai Maraire
7
This Seattle duo’s second LP finds its home on the indie rock mecca, Sub Pop, where hiphop releases are particularly rare. You may recognize the voice of Palaceer Lazaro aka “Butterfly” from the earlier hip-hop ensemble, Digable Planets––which proves to be a more coherent project than Palaces’ veritable black hole of syrupy production and minimalist, industrial beats. Lazaro’s verses blend heady musings of unexpected three-syllables (“resplendent,” “oligarch,” “sepulcher”) with an overly overdubbed vocal. The LP is peppered with arbitrary but welcomed vocal interjections from R&B project, THEESatisfaction. Not easy to listen to, but you’ll be glad you did. – Ted Jamison
From Sassy To Divine: The Sarah Vaughan Project
8
Shanachie Producer: Ann Hampton Callaway Despite decades of acclaim singing jazz, legendary songstress Sarah Vaughan (aka “Sassy”) has said she was not specifically that—which makes her the perfect icon for a similarly diverse contemporary vocal great like Ann Hampton Callaway to pay homage to. She brings passion, swing, playful phrasing, electricity, charm and equally exuberant and subtle nuances to this comprehensive exploration of Vaughan’s catalog in the perfect setting: Live at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola. Highlights include “Misty,” “Chelsea Bridge” and “Wave.” – Jonathan Widran
Real Friends
Maybe This Place Is The Same And We’re Just Changing
7
Fearless Records Producer: Sean O’Keefe “Living in the past never helped me or anyone move forward,” is one powerful line among many off the debut full-length release from this pop-punk quintet. What makes the album such a good listen is the way it packages sadness, so that it is less sad, and more understanding. With easily quotable lyrics and relatable topics, listeners will find solace in knowing that they aren’t alone in how they’re feeling. While a short album—clocking in at just over half an hour—it is one that truly attests to what Real Friends stands for as a band, which makes it worth the listen. – Victoria Patneaude
Wovenwar Wovenwar
8
Metal Blade Records Producer: Bill Stevenson Wovenwar plugs the hole in my chest where Tim Lambesis ripped out my double-bass beating heart, but no matter how much you lay asphalt over a sink hole, it’s only a matter of time before we’re all doomed. Here we find former As I Lay Dying members Jordan Macino, Phil Sgrosso, Nick Hipa and Josh Gilbert working with Oh, Sleeper’s Shane Blay and, quite frankly, the album is fantastic. Side-story drama aside, Metal Blade fans find a new breed of metal-core: Audible bass guitar with mainstream vocal melodies supported by thrash rhythms and guitar leads. Kudos, fellas, for not calling it quits on the sound, while still turning a new leaf. – Andy Mesecher
To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section. September 2014
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Production Lyrics Music Vocals Musicianship
Production Lyrics Music Vocals Musicianship
Production Lyrics Music Vocals Musicianship
9 8 9 9 9
8 x 8 x 9
9 7 8 8 8
Truth AKA Trouble
Charlee Remitz
Contact: avengersproductions@gmail.com Web: soundcloud.com/thetruthsworld Seeking: Label, Music Fest Booking Style: Hip-Hop, Rap
Contact: charlee779@gmail.com Web: charleeremitz.com Seeking: Film/TV, Label Style: Alternative Pop
Perhaps the most skilled rapper we’ve critiqued in years, this Midwest artist makes standard-issue topics seem fresh and compelling. And though he employs a different producer for each track, they all serve the artist’s formula––bombin’ bass, hi-pitched synth-tones and a variable-speed flow that can turn on a dime. “Smokin’ Music” has a Cudi/Busta influence in its hook and melody; “No Matter What” truly THUMPS and has a vocal chorus that drives the song home; and a vintage mixtape vibe oozes from “The Genesis,” whose bassline and piano make it the most accessible track. Yes, he could deepen his lyrical vision, but when it comes to streetwise hip-hop, Truth AKA Trouble shows how it’s done.
Nineteen-year-old Charlee Remitz impresses us immediately with her moody, outsider material and her self-possession, which at times evokes Lorde in theme and execution. “These Veins” is an out-and-out winner, a radio-ready song whose expertly rendered arrangement builds and builds yet never succumbs to clutter. The way she drops the beat in “Rap Gods” allows her voice ample space to totally command the track––so well done, we wonder who’s behind the boards here. Remitz shows even more dimension to her appealing voice (including artful Autotune) in “Spoiled Rotten,” another ditty for the young and disgruntled. We love the confident intelligence of this talented artist.
Production Lyrics Music Vocals Musicianship
9 9 9 8 8
Walter Smith III
The Regal Peaches
Contact: erikprivert@gmail.com Web: waltersmith3.com Seeking: Int’l Booking, Film/TV Style: Jazz
Contact: theregalpeaches@gmail.com Web: theregalpeaches.bandcamp.com Seeking: Booking, Film/TV, Label Style: Rock
High-calibre musicianship can be a pleasure to experience. And when it exists in a combo such as this, you understand the power of live performance. Recording with a “live in studio” reverb (excellent choice) saxophonist Smith and company can deliver challenging, complex material such as “Foretold You” as well as more melodic numbers like “Apollo” with piano colors and guitar fills that are a pleasure to hear. “July” is another outing in which all the players define the term “ensemble,” showing a nimble dexterity that the music demands. Though Smith never overstates his role, the band members clearly follow his lead. Serious jazz listeners in the U.S. and beyond would flock to see these cats.
Anyone looking for a tuneful pop-rock band that refuses to churn out the same ol’ same ol’ will dig this entertaining L.A. foursome. How about a song (“Chicago Typewriter”) about a bank heist? They’ve got one of those—and it’s an upbeat goodtime tune, as well. And what about a sweet pop-rocker (“Blame It On the Weather”) that’s not afraid to feature some sour notes? They’ve got that too. And if you’re in the mood for a Flaming Lips/Lynyrd Skynyrd mashup with great guitar tone, try “Standing In Line” which benefits from the band’s best lead vocals. No question there’s something refreshing about any act that challenges the ear in delightful ways, and has the chops to make it work.
Production Lyrics Music Vocals Musicianship
8 8 8 8 8
Them & Us
LIFE
Contact: themandusofficial@gmail.com Web: soundcloud.com.themandusofficial Seeking: Mgmt, Film/TV, Booking, Tours Style: Electronic Pop
Contact: ryan@rhinestein.com Web: lifemusic.com Seeking: NA Style: Alt-Rock
London based duo (Ami Carmine and Killa Kela) delight in seductive, high-gloss, highimpact “twisted fairytale” numbers that (in “Like Poison”) combine ‘80s sounds (and a vocal nod or two to Brit legend Kate Bush) with a modern M83 electro-pop edge. A more intimate tune is “Oh My God” which, though elementary in tonality, remains compelling due to powerful, multi-layered production that features a dramatic dubstep change-up that works quite well. Film/ TV opportunities (Dragon Tattoo?) could result from the urban/industrial hybrid “The Emancipation,” a dance-y, darkly propulsive theme in which Carmine’s voice is utilized as a sample. We appreciate this duo’s subtle versatility and overall vision.
If Bruno Mars treked to Jamaica he might record a song like “R U D W N” from energetic pop trio LIFE. The tune boasts a strong hook and a vocal that really connects. What kills the hit potential, however, is its altogether lumpy, ill-fitting bridge that’s a total buzzkill. Please delete that section, guys! A similar structural glitch hampers the Maroon 5-ish, reggae/pop-tinged “Kill The Messenger”—while its verse and chorus are strong, it seems they’re from two totally different songs. Maybe a better bridge can save the track, but as it is, the chemistry fizzles. “Kids,” with its mediumcatchy hook, and great drumming, is less tricky and it pays off with a solid song that stays on point all the way.
Production Lyrics Music Vocals Musicianship
8 7 7 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. 46 September 2014
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Production Lyrics Music Vocals Musicianship
Production Lyrics Music Vocals Musicianship
Production Lyrics Music Vocals Musicianship
8 7 7 7 8
7 7 8 7 7
7 7 7 7 7
White Light Messenger
Jim Scarborough
Contact: Niteghardian@aol.com Web WhiteLightMessenger.com Seeking: Film/TV, Label Style: Alternative Pop-Rock
Contact: jim@jimscarborough.com Web: jimscarborough.com Seeking: Label, Film/TV Style: Folk Rock
Film/TV music supervisors might want to check out these tracks, which are strong in the “soundalike” category. There’s a keen Pearl Jam/NIN influence in the fabric of the track “Set You On Fire,” a sexy, smoldering electro-rocker. The female voice in the break is a nice juxtaposition, but in this track and others she is presented unadorned while the male voice gets three coats of reverb. “Got Away” is sonically similar to Imagine Dragons’ mega-hit “Radioactive”—remarkably so. Perhaps most promising is “Twilight,” a potentially rousing GNR-type of singalong that could be improved with a dramatic choir––and a Slash solo!––in the finale.
Singer/multi-instrumentalist Jim Scarborough and his band generate an organic, easygoing brand of folk-rock that’ll complete any live event or winery outing. The amiable, optimistic “Fly Forever” has a solid chorus and nice violin fills. The artist gets bluesy/jazzy with “Big Shot of Love” thanks to some trumpet support and has moments of falsetto that are a nice shift. Mandolin brings forth another welcome flavor on “What I Got.” While band members can definitely play, and they get to strut their stuff a bit, the musicianship is altogether relaxed, assured and serves each song–– even the solos are clipped and succinct. Scarborough’s nicely packaged album is a strong calling card for event gigs.
Production Lyrics Music Vocals Musicianship
8 7 7 7 8
Kight
Evolution Beat
Contact: sean@kightmusic.com Web: kightmusic.com Seeking: Management Style: Alternative
Contact: sam@howiewood.com Web: evolutionbeat.com Seeking: Booking, Distribution Style: Pop, Reggae, Ska, Funk
We’re not sure why these Seattle rockers term themselves “alternative” when a pronounced emo/pop-punk vitality (a la Cartel and Armor for Sleep) seems to be stoking their train. That said, there’s a nucleus of skill in this hard-playing act that can’t be denied, particularly the guitar work which includes a dazzling solo and wah pedal (!) on “Love is A Season.” Kight get all acoustic on us with the catchy “All At Once,” conjuring memories of Hawthorne Heights. The emo-injected “Heart is the Home” makes it clear this band is a future Warped Tour candidate. In the meantime, we’d advise their lead singer to work harder to match the rest of the band in sheer vitality and intensity.
Powered by a party-and-pleasure vision, and lyrics that are typically casual and easy on the intellect, this two-man act creates a synth-heavy pop/ska amalgam that aims to soothe and to please. Unfortunately the overall easy-listening nature of these songs and the bland sound-mix buries any interesting textures (such as guitars) that could add spice. Another issue is that on songs such as “Sarah,” “Satellite” and “Love Me More,” vocalist Garrett Stevens emits a downcast tone that is at odds with the carefree spirit of the music. While we suspect this act is experienced at bringing buoyant energy to any beach party, their muddy recordings could use some sonic sunshine.
Production Lyrics Music Vocals Musicianship
7 7 7 7 7
Huff Da Author
Sarah Harralson
Contact: hdouble37@gmail.com Web: soundcloud.com/huff-da-author Seeking: Label, Distr., Film/TV, Booking Style: Hip-Hop
Contact: sarah.harralson@pop.belmont.edu Web: soundcloud.com/sarahharralson Seeking: Label, Producers Style: Singer/Songwriter
North Carolina’s Huff Da Author has a tendency to find a groove he likes and stay there...and stay there some more. This redundancy hurts tracks such as “Hold On” (easily his best) in which the artist pledges his love to a good woman who’s far away. His interplay here with singer Kat Turner is effective and, when set to the melancholy “West End Girls”-like track, deeply conveys the longing these two people are feeling. Then Huff turns hard with “Killin’ ‘Em” and “My Money Right” where he takes on a grim, mercenary, misogynist point of view. These tracks don’t up the ante, and vocal flow is dragged down due to redundant rhythms. We urge this artist to work with a producer who can shake up his style.
We appreciate this Nashville-based singer/ songwriter’s determination to present honest, bare-bones recordings that are authentic and unadorned. And her Taylor Swift-meets-Alanis Morissette influences are a promising hybrid. But on original tunes “Thanks For The Broken Heart” (great title), “Granddad” and “Burn For You,” the absence of vocal reverb consistently exposes a tendency to flat out. We urge Harralson––who’s got a good, strong voice when she hits the notes––to continue to develop it via an experienced vocal coach who can school her in key signatures. Meanwhile, she should try to hook up with a producer who can help her to better realize her personal, heartfelt vision.
Production Lyrics Music Vocals Musicianship
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SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to http://musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee. September 2014
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The Lexington Bar
Los Angeles, CA
Material: With an outlook like Queen Latifah and the jazzy style of Norah Jones, Aunjel Adams wears her heart on her sleeve, performing spoken-word over neo-soul instrumentals provided by her group, the Homies. Hi-hats, drums, cymbals and guitar riffs work in unison to orchestrate an organic ensemble of passion and progression. One can see star quality in this expressive songwriter and her crew. “Enemy” identifies the struggles we all face when we contemplate self-doubt; and mediocrity is not an option. Meanwhile, songs like “Give In” reference missed opportunities when a boy and girl feel initial attraction to each another but do not follow through. Both genders have a varied perception on mandating love and such themes are present throughout this act’s music. Musicianship: As a solo artist and as the lead singer for her group, Adams’ warm tone also has the versatility to rap a verse at 100 bpm. The Homies stay relaxed, yet upbeat, moving to the rhythms. The drummer, the keyboardist, and the two guitarists create an encouraging vibe. Their music is positive, reflective and progressive. Performance: Adams and company are the definition of soulful. Their performance
Black Rose Tavern
AUNJEL ADAMS was casual and suave. Covers of Beyonce’s “Drunk in Love” and Erykah Badu’s “Tyrone” illustrated how committed Adams and her crew are to expressing emotions to the crowd. Their hunger to be recognized was evident. From Aunjel’s vocal range to her band’s jovial, relaxed vibe. As long as they continue to collectively cultivate their skills as musicians, they’ll someday reach the next level. Summary: Aunjel Adams and the Homies understand the fundamentals of being performers. Together they know how to
DANIEL SEYUM
Contact: booking@aunjeladamsmusic.com Web: http://aunjeladamsmusic.com The Players: Aunjel Adams, singer; the Homies: Matt Spatola, guitar; Javon Harvey, keys; Brandon Jenkins; drums; and Jon Grey, bass.
entertain and keep their audience engaged. The same formula that worked for bands like No Doubt or Joan Jett & the Blackhearts or even Evanescence, can work for this group. Adams and the Homies have an affirmative message to spread, and continuous effort in building a catalog of influential songs can help keep them growing as a sustainable band. Provided they continue to develop and build confidence as a team, this group may one day be a musical force to be reckoned with. – Adam Seyum
Los Angeles, CA
Material: California native David Rosales brings a perfect blend of country, folk and blues to his live shows. While his recorded material has a fuller sound —as it boasts a full band—Rosales performs a strippeddown set consisting of himself and his guitar, at least at Black Rose Tavern’s Westside Hayride. “Brighter Days” is a perfect introduction to his sound as he strums to a tune almost more befitting a coffee shop than a tavern. “Slice of Heaven” creates a toe-tapping environment as Rosales brings up the tempo of the room. The set closer, “Amélie’s Song,” is not only a standout on the setlist, but also the singer’s discography, as it showcases the sweetness of his lyricism with that of his voice before breaking into a guitar solo that would only have been better accompanied by the rest of his band. Musicianship: There’s a smooth and smoky quality to Rosales’ voice that many bluegrass artists strive for which marries well with his guitar playing and earnest lyricism. The singer/ songwriter has a way of keeping each song refreshing —though there is only so much variation that can come from one man and an acoustic guitar. Again, the only way to have made the musicianship better would have been to see him accompanied by his band. 48 September 2014
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DAVID ROSALES Performance: With a set consisting of songs from both of his EPs, the shining moment came when he covered Ray LaMontagne’s “Devil’s In The Jukebox.” It brought out an edge in Rosales that’s perfect for breaking up the two halves of his set and it’s a side the singer should certainly explore more of. It also needs to be said that it is a testament to a musician’s drive when they can perform to a venue where very few patrons are there for the music. Rosales has that drive. With eyes squeezed shut, mouth
VICTORIA PATNEAUDE
Contact: Shoshie@BigPictureMediaOnline.com Web: http://DavidRosalesMusic.com The Players: David Rosales
stretched wide and fingers dancing across the strings, anyone paying the singer the attention he deserves will certainly find his performance worthwhile. Summary: Though his presence certainly made up for the lack of backing musicians, it would be a treat to see Rosales supported by a full band. That being said, his stripped down performance is as sincere as his music and a great introduction to his talent. – Victoria Patneaude
RIO & THE ROCKABILLY REVIVAL Callahan’s Music Hall
Auburn Hills, MI
Contact: mariescottmgmt@gmail.com Web: http://rioandtherockabillyrevival.com The Players: Rio Scafone, lead vocals; Jarod Thompson, guitar; Sean “Junebug” Harris, stand up bass, backup vocals; Charlie Bongo, drums; Renee Turner, backup vocals; Kelly Bevez, backup vocals. Material: From Johnny Cash and early rock & roll pioneer Jack Scott to Brian Setzer and Big
Stage 72 / The Triad
ERIC A. HARABADIAN
vocal counterparts Renee Turner and Kelly Bevez possess an innate combination of stage presence, choreography and peerless harmonic precision. Add to that mix the instrumental acumen that exists between Jarod Thompson, Sean Harris and Charlie Bongo and you have a complete unit that operates like a well-oiled machine.
Mama Thornton, Rio & the Rockabilly Revival bring it all home, with an authentic take on the origins of American rock and country music. But it’s not just a history lesson, as the group draws upon those touchstones to create a sound that is equally modern and intense, with soul and a theatrical spirit that is as contemporary as it is timeless. Musicianship: The ensemble is fronted by Rio Scafone, but you quickly realize that this is a concerted effort. Scafone and her primary
Performance: An unfortunately uneven audio mix to the house seemed to plague the group the majority of their set, but they remained vigilant and put on a very strong show. Scafone has an extensive theater background as well and she pulled out all the stops in terms of projecting her voice and playing to the back of the house. She also showed a great rapport with her backup vocalists who, at one point, comforted her with a blanket in a stagey manner a la James Brown. The band swung like there was no tomorrow and struck a nice balance between extended improvisation and laying down a tight danceable groove. Summary: Rio & the Rockabilly Revival are not so much about reviving the past as they are about giving today’s rock a swift kick in the ass. Rio Scafone is dynamic, vivacious, sexy, seductive and a genuine talent. Her fellow revivalists have this classic show band vibe that harkens back to decades past when an act left all their blood, sweat and tears right there on the stage. This group does all of that and would be appropriate for a variety of venues, including small clubs, casinos, festivals and arena events. – Eric A. Harabadian
New York, NY
Material: More accurately described as a song stylist than a straight-ahead jazz vocalist, songstress Clarice Turnbull infuses beloved standards with her own personal flavor. With more of an emphasis on phrasing and style as opposed to vocal pyrotechnics she accentuates the silver lining of the standard repertoire in stark contrast to the dark underbelly of torch singer fare. She connects with her native Virgin Islands in her medley of Bob Marley’s “One Love” and “Three Little Birds,” while capturing the crowd with her infectious renditions of “Route 66” and “Straighten Up and Fly Right.” Musicianship: Turnbull’s sultry alto voice shines best in up-tempo numbers. Her vocal strengths are served better by shorter, more clipped phrases though she does have a good working vibrato. She chooses repertoire that is a good match for her sound and technical abilities. First rate jazz pianist Naoko Ono glides effortlessly through the material (though reggae is not her forte, everything else seems to be). Each band member is given the chance to showcase individually and overall they provide strong support. Performance: One of the more outstanding traits Turnbull demonstrated was her abundant
CLARICE TURNBULL enthusiasm for the music and audience. While her warm demeanor and obvious interest in connecting with her audience was apparent, at times the invisible line between performer and audience member became blurred. It’s important for a performer to show their human side and gratitude toward fans, but the separation between performer and spectator should be clear at all times no matter who you know in the audience. During intermission African dance troupe “Kaoka,” led by artistic director Fanzy MonguehyT., was a very entertaining and colorful respite between sets and although
GLORIA GROSS
Contact: clariceturnbull@aol.com Web: http://clariceturnbull.com The Players: Clarice Turnbull, vocals; Naoko Ono, piano; Christopher Hall, bass; Michael Carpenter, saxaphone; Fred Wells, drums.
there was no specific tie-in to her music, the choice on Turnbull’s part demonstrated her good taste and sense of the theatrical. Summary: Clarice Turnbull is a selfpossessed and classy performer. It’s evident that she has deep respect for the material as well as her audience. Maintaining that divide between performer and spectator won’t take away from her attempt to bring listeners closer. Shaving down some of the patter and letting more of the music speak will go a long way. – Ellen Woloshin September 2014
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Molly Malone’s
Los Angeles, CA
Material: Armed with powerful vocals and a smooth Southern style, Stacy Burk brings an earnest new voice to the country music scene. At a time when the genre feels saturated by pop stars in cowboy hats, Burk’s no frills approach is a breath of fresh air. His repertoire feels somewhat ballad heavy, and could use a few more upbeat songs. Still, fans of George Strait and Keith Urban will undoubtedly gravitate toward this up-and-comer. Musicianship: Burk sings in a grizzled baritone, with his Texan accent only occasionally coming to the forefront. His delivery is direct and pure, everything you’d expect from a man who was raised on a ranch. He’s supported by an impressive backing band of music industry veterans. Tom Walsh (drums) and Mick Mahan (bass) make up a strong rhythm section, artfully crafting the solid foundations on which each track is built. A trio of guitar players, Philippe Willems, Holger Fath and Carlos Vargas bring a dizzying array of sound to the songs. Their style could easily fit in an arena rock show, but here it cleverly buoys Burk’s vocals
Universal Bar & Grill
STACY BURK without overwhelming the singer’s style. On keys, J.T. Thomas provides subtle nuances that delicately enhance each tune. Last but not least, Jet Johnson’s stirring backup vocals strike a perfect sonic balance with Burk’s voice. It’s a large band with many moving pieces, yet each person plays their role so perfectly that one can’t help but walk away impressed. Performance: Burk launched into his set with “Till Your Boots Are Dirty,” a foot stomping tune that calls out those who dare fake their country side. Perhaps the biggest highlight of the set was Burk’s second to last song, “John Alexander.” This amusing first-person story about a teenager and his adventures with a fake ID proved instantly catchy, while also
COREY IRWIN
Contact: Nicole@lafamos.com Web: http://stacyburkmusic.com The Players: Stacy Burk, vocals; Tom Walsh, drums; Ed Roth, keyboard; Philippe Willems, guitar; Holger Fath, guitar; Mick Mahan, bass; Carlos Vargas, guitars; Jet Johnson, backup vocals.
showcasing a witty side to Burk’s lyric writing. Throughout the entire set, the band was incredibly tight. Each guitar solo soared and every harmony was clean. The only disappointment came from the frontman’s body language. He appeared stiff and robotic, seemingly not enjoying his moment in the spotlight. While the reason may be attributed to his health (he mentioned early in the show that he was fighting a cold), it hindered the performance. Summary: Blessed with songs that resonate long after first listen, Stacy Burk seems poised to rise up the country ranks. Provided he can take his stage presence to the next level, there will be no stopping this bourgeoning country star. – Corey Irwin
North Hollywood CA
Material: Songwriter, multi-instrumentalist, Cody DiGerolamo brings a varied set of rock, folk and synth/electronic tunes with an independent, DIY ethos. Opener, “Built to Spill,” is a raucous “garage rock goes acoustic” piece with flattened, surf-rock vocals. “Together Alone” blends thick, soupy, almost psych-rock with a Neil Young-esque vocal melody. Void of any backing band, songs like “Too Kind” feature DiGerolamo’s vocal against instrumental loops. The loop in “House of Dreams” places particular emphasis on a syncopated, almost hip-hop beat over which DiGerolamo lays a crunchy guitar solo— ending his set in an exciting fit of feedback. Musicianship: DiGerolamo is refreshingly undecorated in guitar and vocal work. His solos are intentionally picked instead of shredded and his vocal is a rather nontraditional, clean, tenor with no vibrato. Gear-wise, DiGerolamo alternates between what looks like a Martin DC16GTE and a Gretsch Electromatic hollow body. Both provide consistency in their depth with full, super-warm low-ends (though the Martin is capable of a fair amount of twang). The guitars feed through a Vox AC15, which excels in its clarity, though DiGerolamo makes frequent use of a Digital Delay and an overdrive pedal. Portions of DiGerolamo’s tunes are backed by a series of instrumental loops emitted from a Boss RC30 station. Lush 50 September 2014
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CODY DIGEROLAMO and full of strings, synths, chimes as well as hip hop/dance influenced beats, the loop tracks attest to the musician’s compositional capabilities.
I said, why not?” The statements imply a duality of a perfectionistic, “work-in-progress” mentality juxtaposed with a devil-may-care, punk rock attitude.
Performance: Focused and slightly furrowbrowed, the silver-suited DiGerolamo let his guard down for the occasional cracked smile and moment of levity. “It’s hump day. You know what that means,” DiGerolamo emitted with a wry smile halfway into the set. He dotted his performance with brief comments about the songs. After the opener, DiGerolamo remarked, “That’s one that I keep changing but I think I like it now.” He later introduced his instrumental track, “Intermission” with, “I finished this today and
Summary: An original, genre-bending sound paired with a marketable image leave DiGerolamo well poised for management or label representation. Though not all were written as singles, a fair amount of the tunes contain the elusive ear-sticking hooks you’ll hum to yourself later on. Corrections to a few minor issues (treble-high acoustic guitar and vocals obscured by the volume of the loop track) are all that hold him back from an above and beyond performance. – Ted Jamison
TED JAMISON
Contact: codydigerolamo@gmail.com Web: codydigerolamo.com The Players: Cody DiGerolamo
September 2014
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Annual Directory of
EVERYTHING PROMO
Expanded for 2014, here’s contact info to aid you in promoting your music career. T-shirt and CD manufacturing, blog sites and social media tools––it’s all here. To receive thousands of free industry contacts, visit http://musicconnection.com/industry-contacts. MERCH & SWAG ADOBE GRAPHICS DESIGN, INC. 33 Great Neck Rd., Ste. 1 Great Neck, NY 11021 800-726-9683, 516-487-5696 E-mail: sales@coyotepromotions.com Web: www.coyotepromotions.com Services: Promotional and premium items for record labels, radio stations and TV stations. AFFORDABLE IMAGE 2515 N. 7th St. Phoenix, AZ 85006 866-961-4412, 602-265-2299 E-mail: sales@affordableimage.com Web: www.affordableimage.com ANENBERG 9521 Business Center Dr. #104 Rancho Cucamonga, CA 91730 909-987-0440 Web: http://anenberg.com, http://store.anenberg.com Services: clothing wholesaler, custom garment screenprinting Styles/Specialties: oversized garment screenprinting, high quality plastisol, waterbased & discharge inks, low minimums, fast turn-around, easy & friendly service ARTS PROMO P.O Box 685 Shutesbury, MA 01072 413-259-1111,415-952-7871 E-mail: artspromo@artspromo.org Web: www.artspromo.org ASAP PROMOTIONS 10 North Lake St, Unit 108 Grayslake IL 60030 800-709-ASAP (2727) E-mail: info@asapteam.com Web: www.asapteampromo.com AUDIOLIFE Los Angeles, CA E-mail: customercare@audiolife.com Web: www.audiolife.com Services: Technology-based e-commerce provider, merchandise manufacturer, wholesaler and retailer for all areas of music merchandising. BAND MERCH 3120 W. Empire Ave. Burbank, CA 91504 818-736-4800, 888-640-9765 Web: www.bandmerch.com BAND SHIRTS C/- Australian Tour Merchandising Pty Ltd 43 Brady St. South Melbourne Victoria, Australia 3205 +61-3-9645-2133 E-mail: customerservice@bandtshirts .com.au Web: www.bandtshirts.com.au BANDWEAR 14290 Gillis Rd., Ste. A Farmers Branch, TX 75244 877-226-3932 Web: www.bandwear.com Services: Manufacturing of promotional and retail products. Vinyl stickers and custom die cutting custom paper printing. Posters and album flats. Any printed promotional products and ‘swag.’ Enabling your website with e-commerce to sell your merchandise. BIG CARTEL Web: www.bigcartel.com Services: Shopping cart platform for Artists, Bands and Record labels BIOWORLD MERCHANDISING 2111 W. Walnut Ln. Irving, TX 75038 888-831-2138 E-mail: info@bioworldmerch.com Web: www.bioworldmerch.com Services: Band and label merchandise management
Additional locations:
220 College Ave., Ste. 404 Athens, GA 30601 706-227-6850
CHASER 217 E. 157th St. Gardena, CA 90248 877-739-1173 Web: http://www.districtlines.com/Chaser Services: All merch - apparel, posters, etc. Online fulfillment
McGladrey Plaza 801 Nicollet Mall, Ste. 615 Minneapolis, MN 55402 2111 W Walnut Hill Ln. Irving, TX 75038 888-831-2138, 972-488-0152
CHRIS COOK MANAGEMENT EUROPEAN MUSIC MERCHANDISING G03, The Light Box 111 Power Rd. London, UK W4 5PY +44 (0)20 8567 1700 E-mail: chris@cookmanagement.com Web: www.cookemanagement.com
Sunset International Molenwerf 23 1911 DB Ultgeest Holland, Netherlands D-155 Hosiery Complelx, Ph-11 Extension, Noida Noida, Uttar Pradesh, India 201008 E-mail: nareshs@biorworldmerch.com
CLUBFLYERS.COM 2300 NW 7th Ave. Miami, FL 33127 800-433-9298 Web: www.clubflyers.com
BIT RIOT P.O. Box 647 LaGrange, IL 60525 E-mail: store@bitriotrecords.com Web: www.bitriotrecords.com, http://facebook.com/fixtmusic, www.fixtonline.com BLUE COLLAR PRESS 2201 Delaware St. Lawrence, KS 66046 785-842-1414 E-mail: info@bluecollarpress.com Web: www.bluecollarpress.com
COMMUNICATION GRAPHICS, INC. 1765 North Juniper Greenway Business Park Broken Arrow, OK 74012 918-258-6502, 800-331-4438 Fax 918-251-8223 E-mail: info@communicationgraphics.net Web: www.cgilink.com
BLUE RAVEN ARTIST MANAGEMENT 82 Valley View Terrace Wayne, NJ 07470 973-519-2600 E-mail: sean@blueravenartists.com Web: www.blueravenartists.com
CRACK THE WHIP PROMOTIONS 1403 W 6th St., 2nd Fl. Brooklyn, NY 11204 718-368-1425 E-mail: info@crackthewhipproductions.com Web: www.crackthewhippromotions.com
BOOBY TRAP P.O. Box 42304 Los Angeles, CA 90042 E-mail: cinthia@boobytrapshop.com Web: wwwboobytrapshop.com Contact: Cinthia Rached Services: Children’s Glow in the Dark Apparel
DESIGN 8 STUDIOS 5801 N. 90th St. Omaha, NE 68134 402-571-1837 E-mail: info@design8studios.com Web: www.design8studios.com
BRAVADO 1755 Broadway - 2nd Fl. New York, NY 10019 212-445-3400 Fax 212-445-3499 E-mail: tom.bennett@bravado.com Web: www.bravadousa.com Additional location: 9255 Sunset Blvd., Ste. 200 Los Angeles, CA 90069 310-865-5025 Fax 310-865-5036 E-mail: peter.lubin@bravado.com
Plant and Main Office 7905 N. Route 130 Pennsauken, NJ 08110 150 W. 25th St., Ste. #402 New York, NY 10001
CD ROLLOUT 5018 Lante Street
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FRONTGATE MEDIA 22342 Avenida Empressa, #260 Rancho Santa Margarita, CA 92688 949-429-1000 Web: www.frontgatemedia.com Services: Full service, strategic merchandising company designing and producing apparel & accessories for brands & bands, ministries & movements, and companies & conferences. GEARHEAD RECORDS 8704 Milo Ct. Elk Grove, CA 95624 916-897-2451 E-mail: info@gearheadrecords.com Web: www.gearheadrecords.com GIGART San Francisco, CA E-mail: mail@gigart.com Web: www.gigart.com GO MERCH E-mail: support@gomerch.com Web: www.gomerch.com Services: apparel/product, e-mail blasts, social media, VIP Pre-sales, Pre-order Campaigns HOME RUN MEDIA GROUP 15562 Chemical Ln., Huntington Beach, CA 92649 714-901-0109 Fax 714-901-0102, 800-951-5858 E-mail: info@home-run.com Web: home-run.com Services: Promotional Products Styles/Specialties: USB Flash Drives, Custom Logo Apparel IFANZ McCartney Multimedia, Inc. 322 Culver Blvd., Ste. 124 Playa Del Rey, CA 90293 E-mail: dischelp@ifanz.com, info@ifanz.com Web: www.ifanz.com INDIE EXTREME 14090 FM 2920, Ste. G117 Tomball, TX 77377 281-890-5034 Fax 281-890-5034 E-mail: kathyd@indieextreme.com Web: www.indieextreme.com Services: Merchandise fulfillment and distribution Additional location: 1507 16th Ave. S. Nashville, TN 37212 615-309-1718 Fax 615-309-1718 INDIEMERCHANDISING LLC 3135 Chester Ave. Cleveland, OH 44114-4616 800-497-8816 ext. 8922 E-mail: info@indiemerch.com Web: www.indiemerch.com, www.indiemerchandising.com, www.indiemerchstore.com Services: Tech-based e-commerce provider, merchandise manufacturer, wholesaler and retailer for all areas of music merchandising.
16300 Christensen Rd., Ste. 310 Tukwila, WA 98188 DYNAMIC ARTIST MANAGEMENT 5221 Central Ave., Ste. 202 Richmond, CA 94804 510-558-4000 Fax 510-558-4002 E-mail: info@dynamicartists.com Web: www.dynamicartists.com
KILL THE 8 Canada 416-531-6647 E-mail: sales@killthe8.com Web: www.killthe8.com, www.myspace.com/killthe8
EARTH2EARTH 111 N Perry St. Pontiac, MI 48342-2336
KLUCH CLOTHING CO. 215 S.E. 8th Ave. Boynton Beach, FL 33435
1200 Division St., Ste #102 Nashville, TN 3703
BUSY BEAVER BUTTONS 3279 W. Armitage Chicago, IL 60647 855-439-2879, 773-645-3359 Web: www.busybeaver.net
248-335-7015 E-mail: art@freshhotshirts.com Web: www.freshhotshirts.com
JAK PRINTS Jakprints, Inc 3133 Chester Ave. Cleveland, OH 44114 877-246-3132, 216-622-6360 Web: http:// jakprints.com/contact Services: offset printing, screen printing, sticker printing, embroidery, more.
560 W. Washington Blvd, Ste. #410 Chicago, IL 60661
BULLETPROOF ARTISTS 241 Main St. Easthampton, MA 01027 413-527-9393 Web: www.bulletproofartists.com E-mail: info@bulletproofartists.com Contact: Patty Romanoff
musicconnection.com
DISC MAKERS 4425 W. Riverside Dr. Ste. 204 Burbank, CA 91505 800-468-9353, 856-663-9030 E-mail: info@discmakers.com Web: www.discmakers.com Services: CD/DVD manufacturing, graphic design, printing, packaging, authoring, mastering, manual & automated CD & DVD printers, blank media. Providing the industry standard of excellence for over 50 years Additional location:
International Contact: Bravado International Group Bond House 347-353 Chiswick High Road London, W4 4HS +44-0-208-742-5600 Web: www.bravado.com E-mail: david.boyne@bravado.com
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Baldwin Park, CA 91706 800-811-7174, 310-374-9208 Contact: Mike Naylor E-mail: mike@cdrollout.com Web: www.cdrollout.com Styles/Specialties: CD/DVD replication, merchandise production (T-shirts, stickers, posters, postcards, merch items), and graphic design.
1411 Broadway, #3109 New York, NY 10018 212-302-1922
D E N I S E
C O S O
Download at www.musicconnection.com/industry-contacts 561-734-9665 Web: www.kluch.com KUNG FU NATION MUSIC MERCHANDISE 731 W. Hargett St. Raleigh, NC 27603 877-826-0518, 919-834-0230 Fax 919-834-2090 Web: www.kungfunation.com LITTERBOX MUSIC SERVICES Web: www.litterboxmusic.com Services: artist management, band merch management & more MAPLE MUSIC 2450 Victoria Park Ave., Ste. 300 Toronto, Ontario Canada, M2J 5H3 877-944-5144, 416-961-1040 E-mail: justcurious@maplemusic.com Web: www.maplemusic.com MERCH.COM 888-640-9765, 818-479-7216 E-mail: customerservice@bandmerch.com Web: www.merch.com MERCHNOW E-mail: tourmerch@merchnow.com Web: www.merchnow.com MERCH MONKEY 259 Chopin Dr. Cambridge, ON N3H 1J6, Canada +1 519-219-9006 E-mail: orderdesk@merchmonkey.com Web: www.merchmonkey.com NIMBIT 47 Mellen St. Framingham, MA 01702 E-mail: marketing@nimbit.com Web: www.nimbit.com ONE STOP INDIE SHOP 64 Dupont St., Ste. #2L Brooklyn, NY 11222 866-606-1231 Web: www.onestopindieshop.com PATENT PENDING INDUSTRIES 2315 Western Ave., Ste 307 Seattle, WA 98121-1636 206-328-3082 E-mail: info@patentpendingindustries.com Web: https://www.facebook.com/ patentpendingindustries PICKGUY P.O. Box 2724 Riverview, MI 48193 734-626-9756 E-mail: info@pickguy.com Web: www.pickguy.com PLATINUM MONARCH DESIGN PO Box 922182 Sylmar, CA 91392-2182 1-888-889-2630 (phone & fax) Web: www.platinummonarchdesign.com Services: websites, logos, flyers, cd covers, postcards, t-shirts & more PORT MERCH 984 Trinity Rd. Raleigh, NC 27607 919-713-0078 E-mail: info@portmerch.com Web: www.portmerch.com Services: Port Merch is a full service merchandise company providing solutions for bands, artists, and record labels. SECOND MOTION ENTERTAINMENT Raleigh, NC E-mail: customerservice@ secondmotionrecords.com Web: www.secondmotionrecords.com/ artistmgmt SIGNATURE ENTERTAINMENT E-mail: info@signatureentertainmentgroup. com Web: www.signatureentertainmentgroup.com Services: Merchandise design, logos, or any type of print design SMI PROMO 7247 Hayvenhurst Ave. Ste. A-3 Van Nuys, CA 91406 800-401-4488 Web: www.smipromo.com STICKER JUNKIE 9932 Prospect Ave., #134 Santee, CA 92071 619-550-2727 E-mail: customerservice@stickerjunkie.com Web: www.stickerjunkie.com
STRANGLEHOLD MERCH 2569 S. Cobb Dr. Smyrna, GA 30080 770-435-9966 E-mail: sales@strangleholdmerch.com Web: www.strangleholdmerch.com SUNSHINE DAYDREAM 708 S. Rand Rd. Lake Zurich, IL 60047 847-550-9999 E-mail: store@sunshinedaydream.biz Web: www.sunshinedaydream.biz THIS IS TOUGH LOVE 660 York St. Ste. 212 San Francisco, CA 94110 415-323-3640 E-mail: hello@thisistoughlove.com Web: www.thisistoughlove.com TOUR CITY, INC. 630 Elmwood Ave. Buffalo, NY 14222 716-893-2900 Fax 716-893-0278 E-mail: contact@tour-city.com Skype/AIM: justinmtartick Web: www.tour-city.com
CD / VINYL DISTRIBUTION ALABAMA CAM VIDEO PRODUCTIONS 412 Main St. Trussville, AL 35173 205-655-0829 E-mail: information@camvideoproductions. com Web: www.camvideoproductions.com Services: CD and DVD duplication as well as taping and authoring to DVD and CD. CINRAM 4905 Moores Mill Rd. Huntsville, AL 35811 256-859-9042 E-mail: info@cinram.com Web: www.cinram.com Services: manufacturing, packaging, distribution DISCOUNT DUPLICATION 240 Oxmoor Cir., Ste. 102 Birmingham, AL 35209 205-942-9460 Web: www.discountdub.com Services: video duplication, dvd duplication, video conversion, film transfer at discount prices, highest quality and fast service HOLT AV 401 28th St. S. Birmingham, AL 35233 800-322-4658 or 205-328-5231 E-mail: info@holtav.com Web: www.holtav.com Services: duplication and transfer services NHOUSE DIGITAL MEDIA 1530 Heritage Place Dr. Irondale, AL 35210 205-226-2222, 205-706-7163 E-mail: customerservice@nhousedigital.com Web: http://nhousedigital.com
ALASKA ACTION VIDEO PRODUCTIONS 430 W. 7th Ave., Ste. 100 Anchorage, AK 99501 907-277-8115 Fax 907-274-5287 E-mail: actvid@alaska.net Web: www.actvid.com Services: copy/duplicate just about any audio/ video format
ARIZONA DISC2DAY 2113 S. 48th St., Ste. 103 Tempe, AZ 85282 602-438-4848 800-951-3707 E-mail: robert@disc2day.com Web: www.disc2day.com Services: CD/DVD duplication and replication PROACTION MEDIA 610 E. Bell Rd., Ste. 2-104 Phoenix, AZ 85022 877-593-4261, 602-277-2011 Fax 602-277-2021 Web: www.proactionmedia.com, www. ondemand.proactionmedia.com Services: Professionally managed or Ondemand DIY CD, DVD and USB low volume duplication and high volume replication services, including Professional custom print for single or multiple disc complete packaging, Order online anytime as low as 1 Complete CD in Jewel Case Package on our OnDemand
site or call for Higher volumes, Quick turns or complex projects. US DIGITAL MEDIA 1929 W. Lone Cactus Dr. Phoenix, AZ 85027 623-587-4900, 877-992-3766 E-mail: reseller@usdigitalmedia.com Web: www.usdigitalmedia.com Services: CD/DVD duplication and replication
ARKANSAS CANTRELL VIDEO 5919 H Street Little Rock, AR 72205 501-664-2215 E-mail: info@cantrellvideo.com Web: www.cantrellvideo.com Services: CD/DVD authoring, transfer, duplication CLARK’S VIDEO GROUP, INC. 14794 Woods Lodge Rd. Rogers, AR 72756 479-636-7111, 479-619-9931 E-mail: clarksvideogroup@sbcglobal.net Web: www.clarksvideogroup.com Services: DVD authoring, media conversions, CD/DVD duplication
CALIFORNIA A1 INDIEPOWER 11054 Ventura Blvd., Ste. 333 Studio City, CA 91604 818-505-1836 E-mail: info@indiepower.com Web: www.indiepower.com, http://facebook. com/IndiePowerOnline Services: best deals on manufacturing, promotion, marketing & distribution worldwide ABACAB MULTIMEDIA, INC. 245 Fischer, Ste. A-9 Costa Mesa, CA 92626 714-432-1745 E-mail: sales@abacab.net Web: www.abacab.net Services: CD & DVD duplication, packaging & printing. Audio and video recording and post. ABET DISC, INC. 411 E. Huntington Dr. #107-372 Arcadia, CA 91006 866-574-0275 ext. 1 E-mail: sales@abetdisc.com Web: www.abetdisc.com Services: CD, DVD, replication, duplication, mastering, authoring, design, printing and packaging
Additional location: Physical & Mailing Address: 606 Alamo Pintado Rd., Unit 3, Ste. 281 Solvang, CA. 93463 ADERRA, INC. 800-430-8189 E-mail: info@aderra.net Web: www.aderra.net Services: Record up to 1,000 USB flash drives within 15 minutes after a live event has ended our patent pending system is the size of a suitcase and can be hand carried. We can pre-load content onto the USB drives including video files, PDF documents, links to websites, slideshows, the possibilities are limitless. We can also custom design a user experience interface. This “DVD Style” navigation is opened when the user inserts the flash drive. It contains links to all of the content on the drive, links to external websites, etc. Please contact us for a demonstration.
ARMADILLO DIGITAL AUDIO 6855 Vineland Ave. N. Hollywood, CA 91605 818-980-6700 E-mail: steve@armadillodigital.com Web: www.armadillodigital.com Services: Professional CD, CD-Rom, DVD,
ASG WORLDWIDE 5890 W Jefferson Blvd. Los Angeles, CA 310-280-1700 E-mail: northamerica@asg-worldwide.com Web: www.asg-worldwide.com/regions Services: print, packaging, key art development, art-working, creative and structural design, digital asset management, pre-press and fulfillment. BURNSMART.COM 1855 S. Santa Cruz, Ste. B Anaheim, CA 92805 866-448-0958, 714-447-9181 Contact: Jackie E-mail: info@burnsmart.com Web: www.burnsmart.com Services: CD/DVD duplication and replication, printing and packaging. We also offer wholesale pricing for blank media,accessories, and duplication equipment. CD NETROM 5018 Lante St. Baldwin Park, CA 91706 888-265-7775 E-mail: info@cdnetcard.com Web: www.cdnetrom.com Services: CD & DVD replication, duplication, print packaging, design, mastering, fulfillment CHARLES LAURENCE PRODUCTION CO. Northridge, CA 818-368-4962 Web: http://clpstudios.com Services: DVD editing, replication, video editing and enhancement, CD duplication, mastering, DAT transfers and real-time cassette duplication. Tape film and vinyl record transfers, 8mm, super-8, 16mm transfer. CHEAP CD DUPLICATIONS 1445 E. Los Angeles Ave. Ste. 301D Simi Valley, CA 93065 800-836-7962 E-mail: iinfo@cheapcdduplications.com Web: www.cheapcdduplications.com Services: duplicator/replicators of CD/DVD as well as full video duplication & digital editing services. 8mm, Super 8mm, and 16mm film transfer to VHS or DVD CINRAM 3400 W. Olive Ave., Ste. 300 Burbank, CA 91505 818.531.3800 E-mail: info@cinram.com Web: www.cinram.com Services: Distribution, Digital Graphics
ACDC-AUDIO CD & CASSETTE Stella at Universal Mall (Drop off) 12400 Ventura Blvd, #150 Studio City, CA 91604 818-762-ACDC (2232), 805-245-5503 E-mail: steve@acdc-cdr.com Web: www.acdc-cdr.com Services: CD, DVD, cassette duplication
AIX MEDIA GROUP 2050 Granville Ave. Los Angeles, CA 90025 310-479-0501, 800-668-4249 E-mail: info@aixrecords.com Web: www.aixrecords.com Services: complete CD/DVD-audio/video production services
DVD-R, DVD-R dual layer, tape duplication and complete printing services available. CD, DVD and CD-Rom replication, free barcodes and shrink wrap available. Complete package CD specials, digital editing, fast turnaround
COMPACT DISC SERVICE 1270 So. Amphlett Blvd. San Mateo, CA 94402 800-599-9534, 650-872-7111 Fax 650-872-7133 E-mail: info@cdsg.com Web: www.cdsg.com Services: CD & DVD replication, CD-R & DVD-R duplication, DVD authoring, graphic design CREATIVE SOUND CORP. 5515 Medea Valley Dr. Agoura Hills, CA 91301 818-707-8986 E-mail: info@csoundcorp.com Web: www.csoundcorp.com Services: CD/record/tape/video duplication, DVD replication, graphic design, digalog process, major manufacturing. Lower prices on automatic desktop duplicators - Epson, Primera, Systor. DENOISE.COM 1501 Powell St., Ste. J Emeryville, CA 94608 866-DENOISE, 510-653-3838 E-mail: info@denoise.com Web: www.denoise.com Services: sound and video production, CD & DVD copies DISC MAKERS 4425 W. Riverside Dr., Ste. 204 Burbank, CA 91505 800-468-9353 Fax 856-661-3450 E-mail: info@discmakers.com Web: www.discmakers.com Services: CD/DVD manufacturing, graphic design, printing, packaging, authoring, mastering, manual & automated CD & DVD printers, blank media. Providing the industry standard of excellence for over 50 years
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Annual Directory of Everything Promo DISC OUTLET Nationwide 877-916-3472 or 916-897-9077 Fax 916-647-9574 E-mail: sales@mydiscoutlet.com Web: www.mydiscoutlet.com Contact: Sales Dept. Services: Low cost CD/DVD replication, CD/DVD short run duplication, printing, and packaging. Order Online 24/7. You conceive it, we’ll achieve it. DISC REPLICATORS INTERNATIONAL 1035 Loma Verde, Unit 1 Monterey Park, CA 91754 626-300-8535, 800-867-8689 Fax 626-300-8636 E-mail: info@discreplicators.net Web: www.discreplicators.net Services: Complete replication and duplication solution center for CD, DVD, Blu-ray and packaging. DRI also offers award winning affordable graphic design and fulfillment services DISKFAKTORY 18062 Irvine Blvd., Ste. 303 Tustin, CA 92780 855-273-4263 E-mail: customer@diskfaktory.com Web: www.diskfaktory.com Services: Online 24/7 and On Demand CD & DVD duplication and replication services *No - commission on iTunes and Napster submissions. A&R services, digital download cards. CD & digital store for musicians to sell to their fans. Low cost CD & DVD fulfillment DVD-REPLICATION 6333 Vicland Place North Hollywood, CA 91606 1-800-94MEDIA, 818-985-9570 Web: www.dvd-replication.com Services: Blu-ray, DVD & CD replication and DVD duplication, packaging E-MEDIATELY/RJR DIGITAL MEDIA, INC. 866-816-6845 Fax 619-501-1425 E-mail: sdweb@cox.net Web: www.rjrdigital.com Services: Replication & duplication, retail ready CD audio, ROM, DVD-5 and 9, and business card replication and duplication; graphic design. ERIKA RECORDS 6300 Caballero Blvd. Buena Park, CA 90620 714-228-5420 Fax 714-228-5421 E-mail: office@erikarecords.com Web: www.erikarecords.com Services: CD, vinyl and cassette duplication (real-time and high-speed), picture discs, business card CDs, DVD replication services. GROOVE HOUSE RECORDS 5029 Serrania Ave. Woodland Hills, CA 91364 888-476-6838 Fax 818-883-8386 E-mail: cdrep@groovehouse.com Web: www.groovehouse.com GROTTO MUSIC, INC. 580 N. Beachwood Dr. Los Angeles, CA 90004 909-305-2340 970-241-4969 E-mail: info@grottomusic.com Web: www.grottomusic.com Services: CD/DVD replication/packaging/AV post/graphics/web HELLMAN PRODUCTION 3202 Pennsylvania Ave. Santa Monica, CA 90404 323-456-0446 E-mail: info@hellmanproduction.com Web: www.hellmanproduction.com HOME RUN MEDIA GROUP 15562 Chemical Ln., Huntington Beach, CA 92649 714-901-0109, 800-951-5858 Fax 714-901-0102 E-mail: info@home-run.com Web: http://www.home-run.com Services: CD & DVD duplication/replication, digital printing, signs, banners and displays HOOK STUDIO SERVICES, THE Los Angeles, CA 818-759-4665 E-mail: mfrenchik@fastmail.net Web: http://www.thehookstudios.com Services: CD & DVD pro quality duplication, same day, overnight, saturdays, superior color print on disc, panel inserts, cd printed sleeves, custom packaging
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IFANZ McCartney Multimedia, Inc. 322 Culver Blvd., Ste. 124 Playa Del Rey, CA 90293 E-mail: dischelp@ifanz.com, info@ifanz.com Web: www.ifanz.com IMPERIAL MEDIA SERVICES 3202 Pennsylvania Ave. Santa Monica, CA 90404 310-396-2008, 800-736-8273 E-mail: info@imperialmedia.com Web: www.imperialmedia.com Services: CD/DVD/video duplication/ replication/packaging, CD/DVD mastering and authoring, any quantity--same day service available, we deliver on spec, on time, on budget. JTO ENTERPRISES 9314 Hillery Dr., #6301 San Diego, CA 92126 859-327-5894 E-mail: tandy@jtoenterprises.com Web: www.jtoenterprises.com Contact: Tandy Owen Services: one-stop-shop for all your CD and DVD manufacturing, packaging and fulfillment needs KABA AUDIO PRODUCTIONS P.O. Box 5357 Petaluma, CA 94955 707-765-9900 E-mail: info@kabaaudio.com Web: www.kabaaudio.com Services: Full-service CD, CD-ROM, and DVD replication, cassette duplication, spokenword recording, mastering, short run CD copies, design, printing, packaging M2 COMMUNICATIONS 235 Bellefontaine St. Pasadena, CA 91105 800-423-8273, 626-441-2024 Fax 626-441-2694 E-mail: m2com@aol.com Web: www.m2com.com/cassetteworks.html Services: audio duplication, CD replication, packaging, DVD duplication MASTER GROOVE STUDIOS Los Angeles (Northridge) Nashville (Hendersonville) 818-830-3822, 615-799-9366 E-mail: leafcake@att.net Web: www.mastergroovestudios.com Services: full mastering/small runs of CD duplication of 50 or less, cassette duplication MASTERTRACK CD & DVD MFG 825 41st Ave., Ste. C Santa Cruz, CA 95062 1-888-464-9664 E-mail: clientcare@mastertrack.com Web: www.mastertrack.com Services: quality CD & DVD Duplication since 1998 MEDIA TECHNICS 4 Bluehill Ct. Scotts Valley, CA 95066 800-474-8996 ext. 801 E-mail: information@mediatechnics.com Web: www.mediatechnics.com MEDIA TEK OPTICAL INC. 13450 Brooks Dr., Ste. A Baldwin, CA 91706 800-826-3873, 626-962-1919 ext. 10 Fax 626-962-1917 E-mail: sales@a1mediatech.com Web: www.a1mediatech.com Services: CD, DVD, cassette & video replication/duplication, Sonic Solutions mastering, design, printing & packaging major label quality. MIXONIC 1265 Folsom St. San Francisco, CA 94103 888-464-9664 E-mail: customercare@mixonic.com, info@ mixonic.com Web: www.mixonic.com Contact: Puja Arguwal Services: CD, CD-ROM, DVD, USB, Flashdrives CD/DVD duplication & replication, printing, packaging, fulfillment, design services MR. SPEED CASSETTE (drop-off address) 12400 Ventura Blvd., #150 Studio City, CA 91604 818-762-2232 Physical address: 606 Alamo Pintado Rd., #3, Ste. 281 Solvang, CA 93463
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805-245-5503 E-mail: steve@acdc-cdr.com Web: www.acdc-cdr.com Services: CD and cassette duplication (real-time and high-speed) NEW CYBERIAN SYSTEMS, INC. 1919 O’Toole Way San Jose, CA 95131 877-423-4383, 408-922-0682 Fax 408-884-2257 E-mail: sales@newcyberian.com Web: www.newcyberian.com NOTEPAD, THE Pasadena, CA 626-794-4322 E-mail: thenotepad@earthlink.net Services: CD & DVD replication, CD-R & DVD-R duplication, graphic design, mastering and printing, small to big orders PPL RECORED MUSIC COMPANY 468 N. Camden Dr., Ste. 200 Beverly Hills, CA 90210 818-506-8533, 310-860-7499 E-mail: pplzmi@aol.com Web: www.pplzmi.com Contact: Maxx Diamond Services: Mastering, CD, DVD, import, export, distribution, manufacturing QBT 1938 S. Myrtle Ave. Monrovia, CA 91016 626-357-1330, 888-525-1125 E-mail: info@qbtmedia.com Web: https://www.facebook.com/QBTMEDIA Services: CD, CD-ROM, DVD, vinyl, cassette, video, printing, mastering, packaging, duplicating QUALITY CLONES CD, DVD, Mastering, Website & Video Services 3940 Laurel Canyon Blvd., Ste. 405 Studio City, CA 91604 323-464-5853 E-mail: info@qualityclones.com Web: www.qualityclones.com Services: CD & DVD replication & mastering, graphic design, website design and layout, full color printing booklets, tray cards, posters, postcards, CD sleeves, DVD wraps digipacks, packaging and shrink wrapping. RAINBO RECORDS 8960 Eton Ave. Canoga Park, CA 91304 818-280-1100 Fax 818-280-1101 E-mail: info@rainborecords.com Web: www.rainborecords.com Services: CD and DVD replication, vinyl pressing, custom packaging, graphic design REAL TIME COPIES 10220 Culver Blvd, #201 Culver City, CA 90232 310-559-9095 E-mail: art202@earthlink.net Web: www.realtimecopies.com Services: CD / DVD duplication, authoring, full artwork & video production RECORD TECHNOLOGY, INC. (RTI) 486 Dawson Dr. Camarillo, CA 93012 805-484-2747 Fax 805-987-0508 Web: www.recordtech.com Services: vinyl, CD manufacturing REEL PICTURE 5330 Eastgate Mall San Diego, CA 92121 858-587-0301, 866-502-3472 Fax 858-587-8838 E-mail: keith@reelpicture.com Web: www.reelpicture.com Services: cassette, CD, CD-R and record manufacturing, DVD replication, printing, packaging
SIENNA DIGITAL P.O. Box 502 Half Moon Bay, CA 94019 888-504-1620, 650-712-1709 Contact: Naomi Delott E-mail: naomi@siennadigital.com Web: http://www.siennadigital.com Services: CDs and DVDS, Digipaks, Eco Wallets, Sleeves, Mailers and Jewel case products Graphic Design and Mastering SONY DADC 2904 S. Angus Fresno, CA 93725 Web: www.sonydadc.com Services: all DVD and CD media services, printing & packaging Additional location: 4499 Glencoe Ave. Marina Del Rey, CA 90292 SOUND ADVICE RECORDING 10700 Jersey Blvd., Ste. 720 Rancho Cucamonga, CA 91730 800-987-6830, 909-987-6930 E-mail: sales6@sarecording.com Web: www.sarecording.com Services: cassette, CD, CD-R, DVD, and video duplication, authoring, complete inhouse mastering, packaging services SPEEDLIGHT DUPLICATION, INC. 21822 Lassen St., Unit G Chatsworth, CA 91311 818-727-0200, 818-727-0264 E-mail: sales@speedlight-duplication.com Web: www.speedlightduplication.com TECHNICOLOR 6040 Sunset Blvd. Hollywood, CA 90028 323-817-6600 Web: www.technicolor.com Services: CD manufacturing, mastering and replication, fulfillment services, distribution *Locations throughout the world. See website for various international locations. THRESHOLD SOUND + VISION 2114 Pico Blvd. Santa Monica, CA 90405 310-566-6677 E-mail: micheleb@thresholdsound.com Web: www.thresholdsound.com Services: mastering, 5.1 surround, transfers, short run promo CD-Rs, lacquer masters, CD, DVD, Vinyl and VHS manufacturing. TSI CD MANUFACTURING 24831 Ave. Tibbitts Valencia, CA 91355 800-310-0800 Fax 661-702-9029 E-mail: info@cdmanufacturing.com Web: www.cdmanufacturing.com Services: CD, DVD, USB Drives, Fulfillment and drop shipping, packaging/graphic services ULTRADISC 1257 Columbia Ave., Unit D-5 Riverside, CA 92507 866-223-7327, 951-940-9800 Fax 951-346-9440 E-mail: sales@ultradisc.com Web: www.ultradisc.com Services: DVD and CD replication, silk screen, printing, packaging UNITED AUDIO/VIDEO GROUP 6855 Vineland Ave. N. Hollywood, CA 91605 800-247-8606, 818-980-6700 Fax 818-508-TAPE Web: www.unitedavg.com Services: Audio/Video duplication
RHYTHM NET DESIGN GROUP 9860 Irvine Center Dr. Irvine, CA 92618 949-783-5000 Fax 949-783-5001 E-mail: info@rinteractive.net Web: www.rinteractive.net Services: CD replication, CD duplication, printing, film, graphic design
V-CORP MULTI MEDIA 733 N. Grandview Ave. Covina, CA 91724 626-966-0412, 800-826-7799 E-mail: info@vcorp99.com Web: vcorpmultimedia.com Contact: Sandra Service: CD/CD-ROM/DVD/cassettes/video/ large or small runs graphics/printing/fulfillment packaging
RUNTECHMEDIA INC 2107-D W. Commonwealth Ave., Ste. 324 Alhambra, CA 91803 866-656-8999, 626-656-8900 Fax 626-656-8999 E-mail: sales@runtechmedia.net Web: www.runtechmedia.com Services: all DVD and CD media services, printing & packaging
CROSSPOINT 940 Wadsworth Blvd., Ste. 100 Lakewood, CO 80214 303-233-2700 E-mail: info@crosspoint.com Web: www.crosspoint.com Services: one stop shop for any type film or video production
COLORADO
Download at www.musicconnection.com/industry-contacts DENVER DISC 3315 Gilpin St., Ste. B Denver, CO 80205 303-991-3837 E-mail: info@denverdisc.com Web: www.denverdisc.com Services: CD/DVD duplication & printing DVD TOMORROW 8200 E. Pacific Pl., Ste. 210 Denver, CO 80231 800-372-8096 E-mail: sales@dvdtomorrow.com Web: www.dvdtomorrow.com Services: CD/DVD duplication JOE’S PRODUCTION & GRILLE, INC. 4919 N. Broadway Boulder, CO 80304 303-442-1770, 888-563-7474 E-mail: sales@joesgrille.com Web: www.joesgrille.com Services: CD manufacturing, indie distribution, indie radio Additional location: P.O. Box 2380 New York, NY 10009 888-563-7474 MAM-A 10045 Federal Dr. Colorado Springs, CO 80890 888-626-3472, 1-719-262-2430 E-mail: info@mam-a.com Web: www.mam-a.com Services: MAM-A is the leading manufacturer of Professional quality recordable CDs and DVDs, with unique manufacturing technology and complete control over production processes. MAM-A provides a complete range of products, including Archival Grade 24K Gold DVD+/-Rs and CD-Rs, High quality Silver DVD-R, 8.5 GB Dual Layer DVD+R, and Recordable Blu-ray discs. Printable surfaces, Custom Logos, and Pre-Recorded CD-ROM/DVD-ROM are also available.
CONNECTICUT BUZZ MEDIA COMPANY 32 Bruggeman Pl. Mystic, CT 06355 860-536-1830 E-mail: info@buzzmediacompany.com Web: www.buzzmediacompany.com Services: video transfer IFM PRODUCTIONS LLC 67 Valley Rd. Cos Cob, CT 06807 203-661-9326 Contact: Iggy Makarevich E-mail: info@ifmproductions.com Web: www.ifmproductions.com Services: CD/DVD duplication QUICK DISCS 41 Crossroads Plaza, Ste. 167 W. Hartford, CT 06117 800-233-8754 E-mail: jeff@quick-disc.net Web: www.quickdiscs.com Services: CD/DVD duplication & replication, packaging, printing
DELAWARE DELAWARE DIGITAL VIDEO FACTORY 1709 Concord Pike (Rt 202) Wilmington, DE 19803 302-TV-TAPES (888-2737) Web: www.ddvf.com Services: CD/DVD duplication KEN-DEL PRODUCTIONS, INC. First State Production Center 1500 First State Blvd. Wilmington, DE 19804-3596 302-999-1111 E-mail: info@ken-del.com Web: www.ken-del.com Services: Graphics, CD/DVD Replication/ Duplication, Transfers from any format, printing
DISTRICT OF COLUMBIA (DC)
Services: CD/DVD duplication & Video duplication
FLORIDA BISON DISC 803 South Orlando Ave. Ste. J Winter Park, FL 32789 866-466-4061, 407-770-6900 E-mail: sales@bisondisc.com Web: www.bisondisc.com Additional location: 4600 Touchton Rd. Jacksonville, FL 32246 904-701-2502 5405 Wilshire Blvd., Ste. 347 Los Angeles, CA 90036 866-866-4061 CD DEPOT 5623 NW 74th Ave. Miami, FL 33166 800-742-3974, 305-863-8699 E-mail: info@reprocd.com Web: www.reprocd.com Services: CD/DVD duplication & replication DIGITAL DOMAIN 478 E. Altamonte Dr. #108-122 Altamonte Springs, FL 32750 800-344-4361, 407-831-0233 E-mail: ofcmgr@digido.com Web: www.digido.com INE MEDIA 5510 Philips Hwy., Ste. 12 Jacksonville, FL 32207 800-443-9030, 904-443-2681 Fax 904-448-3103 E-mail: sales@cddvdfactory.com Web: www.cddvdfactory.com Services: CD/DVD Duplication & Replication INTERMEDIA DISC 7359 N.W. 34 St. Miami, FL 33122 877-392-DISC, 305-392-9572 Fax 305-392-9574 E-mail: info@intermediadisc.com Web: www.intermediadisc.com Services: CD/DVD replication PROGRESSIVE MEDIA & MUSIC 2116 Southview Ave. Tampa, FL 33606 813-251-8093 Fax 813-251-6050 E-mail: info@progressivecds.com Web: www.progressivecds.com Contact: Ken Veenstra Services: CD, CD-ROM, Vinyl, DVD, CD/ DVD-R, thumb drives replication, graphic design, packaging, DVD authoring, inventory management, printing, mastering, video editing
HAWAII RAINBOW PHOTO VIDEO 661 Keeaumoku St. #101A Honolulu, HI 96814 808-943-0276 E-mail: rainbow@rainbowphotovideo Web: www.rainbowphotovideo.com Services: CD/DVD/DVD-R duplication TOM TERRIFICS 2961 E. Manoa Rd., Ste. D Honolulu, HI 96822 808-988-1556 E-mail: tom006@hawaii.rr.com Web: www.Tomterrifics.com Services: CD/DVD duplication & cover design
IDAHO JACKSON VIDEO SERVICES 1075 W. Yosemite Dr. Meridian, ID 83646 208-895-6646 E-mail: clint@jacksonvideoservices.com Web: www.jacksonvideoservices.com Services: conversions, duplication, editing,repairs, transferring all media
ILLINOIS ADVANCED AUDIO TECHNOLOGY 200 Easy St. Carol Stream, IL 60188 630-665-3344 E-mail: info@advanceaudio.net Web: www.advancedaudio.net Services: duplication, replication, design & printing CHICAGO PRODUCERS 817 S. Western Ave. Chicago, IL 60612 800-467-1497 or 312-226-6900 E-mail: info@chicagoproducers.com Web: www.chicagoproducers.com Services: CD/DVD duplication & replication DISC MAKERS 560 W. Washington Blvd. #410 Chicago, IL 60661 800-468-9353 Fax 856-661-3450
Web: www.discmakers.com Services: CD/DVD manufacturing, graphic design, printing, packaging, authoring, mastering, manual & automated CD & DVD printers, blank media. Providing the industry standard of excellence for over 50 years. IDEA MEDIA SERVICES 600 W Chicago, Ste. 850 Chicago, IL 60657 866-326-3416, 312-226-2900 E-mail: info@ideareplication.com Web: www.ideareplication.com Services: CD/DVD duplication & replication, packaging RBR PRODUCTIONS 117 W. Rockland Rd. Libertyville, IL 60048 888-278-0558 or 847-362-4060 E-mail: info@rbrproductions.com Web: www.rbrproductions.com Services: CD/DVD duplication & replication SONY DADC 430 Gibraltar Dr. Bolingbrook, IL 60440 Web: www.sonydadc.com Services: all DVD and CD media services, printing & packaging VIDEO ONE PRODUCTIONS 1820 W. Webster Ave., Ste. 201 Chicago, IL 60614 773-252-3352 E-mail: irwin@video1pro.com Web: www.video1pro.com Services: CD and DVD duplication and replication
INDIANA ALT-PAK.COM 228 W Lincoln Hwy, Ste. 207 Schererville, IN 46375 877-283-9763 Web: www.alt-pak.com Services: Alternative Disc packing of wallets, jackets and digipacks DIGITAL VIDEO CONCEPTS 5230 Park Emerson Dr., Ste. D
S & J CD DUPLICATION, INC. 105 College Dr., Ste. 3 Orange Park, FL 32065 888-269-7088, 904-272-0580 Fax 904-272-9427 E-mail: sales@snjcd.com Web: www.snjcd.com
GEORGIA ATLANTA MANUFACTURING GROUP 4458 Peachtree Lake Dr., Ste. A Duluth, GA 30096 404-230-9559, Fax 404-417-1016 E-mail: amgstaff@amgcds.com Web: www.amgcds.com Services: full service CD & DVD manufacturer offering major label quality and affordable pricing with boutique type service INFINITY DISCS 5105 Peachtree Industrial Blvd., Ste. 103 Atlanta, GA 30341 770-451-7400, 800-749-7489 E-mail: info@infinitydiscs.com Web: www.infinitydiscs.com Services: CD/DVD duplication & replication, printing & packaging
ACE PRESS 910 17th St., N.W., Ste. 100 Washington, DC 20006 202-338-4006 E-mail: acepress@aol.com Web: www.acepress.com Services: Printing, Copying & Mailing
ROVIX The Proscenium Tower 1170 Peachtree St., Ste. 1200 Atlanta, GA 30309 877-ROVIX-77, 404-869-0706, 404-885-6066 E-mail: solutions@rovix.com Web: www.rovix.com Services: CD/DVD duplication & replication
CDDVD DUPLICATION WASHINGTON DC Washington, DC 20007 866-874-8725 Web: http://cddvdduplicationwashingtondc.com
SONY DADC 5152 Columbia Dr. Carrollton, GA 30177 Web: www.sonydadc.com Services: CD/DVD duplication & replication
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Annual Directory of Everything Promo Indianapolis, IN 46203 317-544-2150 E-mail: JAD@dvcdubs.com Web: www.digitalvideoindy.com Services: Full Service Duplicating of Cassettes Dvd’s CD’s & Floppy Discs INDIANA AUDIO MASTERING & DPLC 906 W. Countryside Ln. Bloomington, IN 47403 812-331-2056 E-mail: sales@indianaaudio.com Web: www.iamdcd.com Services: CD/DVD duplication or replication SONY DADC 9999 E 121st St. Fishers, IN 46037 Web: www.sonydadc.com Services: CD/DVD duplication or replication TRIDIGITAL SOLUTIONS LLC 5211 Lancelot Dr. Indianapolis, IN 46228 317-293-8000 Fax 317-293-8008 E-mail: sales@tridigitalsolutions.net Web: www.tridigitalsolutions.net Services: your turnkey solution to all CD, DVD, USB, and custom packaging needs WORLD MEDIA GROUP 6737 E. 30th St. Indianapolis, IN 46219 800-400-4964 E-mail: getstarted@worldmediagroup.com Web: www.worldmediagroup.com Services: DVD, CD, cassette graphic design, mastering, duplication, packaging, fulfillment, warehousing Additional locations:
MAINE KLARITY MULTIMEDIA 36 Maple St. P.O.Box 160 North Vassalboro, ME 04962 888-387-8273, 207-873-3911 E-mail: terac@klarity.com Web: www.klarity.com Services: all related services
MARYLAND BLUE HOUSE PRODUCTIONS 2201 Westview Dr. Silver Spring, MD 20910 301-589-1001 E-mail: info@bluehouseproductions.com Web: www.bluehouseproductions.com Services: CD/DVD duplication MORPHIUSDISC MANUFACTURING 100 E. 23rd St. Baltimore, MD 21218 410-662-0112 Fax 410-662-0116 E-mail: info@morphius.com Web: www.morphius.com Services: CD, CD-ROM, DVD, Blu-ray, vinyl, shaped CD/CD-Rom/vinyl, cassette, picture vinyl replication, insert printing, sticker printing, packaging, graphic design, digital download and physical distribution, fulfillment, inventory management VIDEO LABS 15237 Display Ct. Rockville, MD 20850 800-800-8240, 301-217-0000 E-mail: sales@videolabs.net Web: www.videolabs.net
MASSACHUSETTS
Columbus, OH New York, NY Kansas City, MO Philadelphia, PA 800-400-4964 Nashville, TN Service Center 1302-B Division St. Nashville, TN 37203 800-874-4174 E-mail: info@nationalmediagroup.com Dallas, TX Crystal Clear Media Group Office 10451 Markison Dr. Dallas, TX 75238 800-880-0073 E-mail: info@crystalclearcds.com
IOWA CD DUPLICATOR, THE CSI, Inc. 975 W. Lincoln Hwy., Ste. A Nevada, IA 50201 515-382-4623 E-mail: info@thecdduplicator.com Web: www.thecdduplicator.com Services: CD/DVD duplication & replication DUPLICATION MEDIA 8126 Douglas Ave. Urbandale, IA 50322 515-334-3877 E-mail: info@duplicationmedia.com Web: www.duplicationmedia.com Services: CD/DVD duplications, videotape duplications, video to DVD transfers, audio to CD transfers and more
KANSAS WICHITA VIDEO WORKS 1510 W. Douglas Wichita, KS 67203 316-558-5313 E-mail: info@wichitavideoworks.com Web: www.wichitavideoworks.com Services: duplication services from many professional and consumer formats to DVD/ CD/VHS
KENTUCKY ADVANCED VIDEO SERVICES 1110 N. Broadway Lexington, KY 40505 859-255-1975 E-mail: avs@insightbb.com Web: www.advancedvideoservices.net Services: CD/DVD duplication, design & packaging
LOUISIANA FAST FORWARD MULTIMEDIA, INC 1428 S. Hugh Wallis Rd. Lafayette, LA 70508 337-262-0401 877-497-7299 E-mail: ffmultimedia@aol.com
56 September 2014
Web: www.fastforwardmm.com Services: CD/DVD duplication
CD SONIC 273 Commonwealth Ave. Boston, MA 02116 888-CD-SONIC, 888-237-6642 ext. 201 Contact: Jules Seabra, VP/Sales E-mail: julesseabra@cdsonic.com Web: www.cdsonic.com Services: CD-Audio and CD ROM replication, DVD replication, VHS duplication, printing and packaging CD WORKS 93 Park St. Beverly, MA 01915 800-239-6757 or 978-922-4990 E-mail: info@cdworks.com Web: www.cdworks.com Services: state of the art CD and DVD duplication and replication services ECLIPSE VIDEO SERVICES 2400 Massachusetts Ave. Cambridge, MA 02140 800-345-6024 or 617-491-1714 Fax 617-661-1543 E-mail: info@eclipsevid.com Web: www.eclipsevid.com Services: CD/DVD duplication
MICHIGAN DUPLICATORS.NET 30450 Ryan Rd. Warren, MI 48092 586-573-4444, 888-795-1531 E-mail: info@duplicators.net Web: www.duplicators.net Services: CD/DVD duplication & replication, design & printing NOBUCKS DOT NET 790 Oxford Rd. Oxford, MI 48371 877-NOBUCKS, 877-662-8257 E-mail: cd@cdupe.com Web: www.CDupe.com Services: CD/DVD duplication, VHS to DVD Kits, short runs are no problem VOLK VIDEO SERVICES Woodward & 16 mile Area Birmingham, MI 48009 866-752-9422 or 248-203-9801 E-mail: info@volkvideo.com Web: www.volkvideo.com Services: CD/DVD duplication & transfer
MINNESOTA AEGIS VIDEO 7930 Wyoming Ave. Minneapolis, MN 55438 952-941-1002 Web: www.aegisvideo.com Services: VHS/DVD/CD duplication & replication, home video to DVD ALLIED VAUGHN 7600 Parklawn, Ste. 300
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Minneapolis, MN 55435 800-323-0281, 952-832-3100 Fax 952-832-3179 E-mail: webmail@alliedvaughn.com Web: www.alliedvaughn.com Services: DVD and CD replication/ duplication, authoring, Media on Demand, VHS duplication, packaging solutions, graphic design, printing, inventory mgmt. *Offices throughout the U.S., see Website for details Additional locations: Chicago 901 Bilter Rd., Ste. 141 Aurora, IL 60502 630-626-0215, 800-759-4087 E-mail: rick.polizzi@alliedvaughn.com Detroit 11923 Brookfield Livonia, MI 48150 734-462-5543, 800-462-5543 E-mail: chris.barkoozis@alliledvaughn.com Orlando Orlando, FL 32819 407-491-7737, 800-877-1778 E-mail: richard.skillman@alliedvaughn.com COPYCATS MEDIA 712 Ontario Ave. W. Minneapolis, MN 55403 612-371-8008, 888-698-8008 Fax 612-371-8011 Web: www.copycatsmedia.com DUPESHOP.COM/DVB MEDIA 8525 Edinbrook Crossing, Ste. 102c Minneapolis, MN 55443 866-874-8725 or 763-315-4939 E-mail: info@dupeshop.com Web: www.dupeshop.com Services: DVD duplication MEDIAXPRESS 1515 Nicollet Ave. S. Minneapolis, MN 55403 612-872-8284, 800-879-8273 E-mail: info@mediaxpress.net Web: www.mediaxpress.net SOUND 80 222 S. 9th St., Ste. 3600 Minneapolis, MN 55402 612-339-9313 E-mail: info@sound80.com Web: www.sound80.com Services: CD/DVD duplication & transfers
MISSISSIPPI JASPER EWING & SONS INC 1220 E. Northside Dr., Ste. 370 Jackson, MS 39211 601-981-2178 E-mail: info@jasperewing.com Web: jasperewing.com Services: CD & DVD Duplication
MISSOURI ABOVE & BEYOND PRODUCTIONS INC 714 Yale Ave. St. Louis, MO 63119 314-968-3024 E-mail: rick@aboveandbeyond.tv Web: www.aboveandbeyond.tv Services: CD/DVD duplication & transfer ARCH CD DVD 1600 S Kingshighway Blvd., Ste. 2N St. Louis, MO 63110 314-865-3341 Web: facebook.com/pages/ ArchCD/95890452152 Services: CD/DVD duplication & replication SMITHLEE PRODUCTIONS INC 7420 Manchester Rd. St. Louis, MO 63143 314-647-3900 877-745-0900 E-mail: sales@smithlee.com Web: www.smithlee.com Services: CD/DVD replication and fulfillment T2 MEDIA DUPLICATION 1906 Wyandotte Kansas City, MO 64108 816-471-6554 Fax 816-471-6500 E-mail: contact@t2mediaduplication.tv Web: www.t2mediaduplication.tv Services: DVD, CD, replication, authoring, pressing and packaging
MONTANA AARDVARK AUDIO-VISUAL 304 Moore Ln. Billings, MT 59101 877-773-8275, 406-252-6474 E-mail: sales@aardvarkav.com
Web: www.aardvarkav.com Services: CD/DVD duplication MR. VIDEO PRODUCTIONS, LLC 1480 Spiritwood Victor, MT 59875 888-961-4970 E-mail: mrvideo.com@gmail.com Web: www.mrvideo.com Services: duplication & transfer PEAK RECORDING & SOUND INC PO BOX 1404 Bozeman, MT 59771 406-586-1650 E-mail: info@peakrecording.net Web: www.peakrecording.net Services: CD/DVD duplication & design
NEBRASKA CREATIVE VISUAL PRODUCTIONS, INC. 4131 S 89th St. Omaha, NE 68127 402-592-4410 E-mail: rob@creativevisual.biz Website: www.creativevisual.biz Services: CD, DVD, Blu-ray, authoring, replication, duplication, packaging OMAHA TRANS-VIDEO LLC 14925 Industrial Rd. Omaha, NE 68144 402-894-0105 E-mail: joe@omahatransvideo.com Web: www.omahatransvideo.com Services: CD/DVD or VHS duplication TMS Theatrical Media Services, Inc. 7510 Burlington St. Omaha, NE 68127 402-592-5522, Fax 402-592-0094 Web: www.tmsomaha.com Services: Touring, Festivals, Corporate, Theatrical, House of Worship
NEVADA JETKOR P.O. Box 33238 Reno, NV 89533 775-846-1185 Contact: Sherri Del Soldato E-mail: info@jetkor.com Web: www.jetkor.com Services: full-color printing, promo packet development, cover art design, posters, web design.
NEW HAMPSHIRE NECD New England Compact Disc 68 Stile Rd., Ste H Salem, NH 03079 800-617-3877 E-mail: info@newenglandcd.com Web: www.newenglandcd.com Services: CD/DVD duplication & replication
NEW JERSEY DISC MAKERS 7905 N. Crescent Blvd. Pennsauken, NJ 08110-1402 800-468-9353 Fax: 856-661-3450 Web: www.discmakers.com Services: CD/DVD manufacturing, graphic design, printing, download cards, distribution, packaging, authoring, mastering, manual & automated CD & DVD printers, blank media, distribution, marketing services, also 12-in vinyl. Providing the industry standard of excellence for over 50 years. OASIS CD MANUFACTURING 7905 N. Route 130 Delair, NJ 08110 888-296-2747 E-mail: info@oasiscd.com Web: www.oasiscd.com Services: CD/DVD manufacturing, graphic design, printing, eco-packaging, direct glass cutting (Audiophile)
NEW MEXICO CINE VIDEO PRODUCTIONS & DUPLICATION 35 Domingo Rd. Santa Fe, NM 87508 505-466-6101, 504-466-9347 E-mail: startzman@me.com Web: cinevisionproductions.com Contact: Richard Startzman Services: all video production needs KOKOPELE PRODUCTIONS Santa Fe, NM 87501 505-501-0589 E-mail: kkpele@msn.com Web: www.kkpele.com Services: DVD duplication
Download at www.musicconnection.com/industry-contacts NEW YORK A TO Z MEDIA 650 Broadway, 4th fl. New York, NY 10012 212-260-0237 888-670-0260 E-mail: production@atozmedia.com Web: www.atozmedia.com Services: DVD, CD, cassette and CD-ROM duplication/replication, design, printing. DIRECT 2 MARKET SOLUTIONS 1387 Fairport Rd., Ste. 800 Fairport, NY 14450 1-800-229-8067 Web: www.direct2marketsolutions.com Services: CD/DVD printing and duplication, printing, packaging and fulfillment DISC MAKERS 150 W. 25th St., Ste. 402 New York, NY 10011 800-468-9353 Web: www.discmakers.com Services: Replication, graphic design, on-disc printing, packaging, authoring, recordable media, mastering, master transfers multimedia authoring, manual & automated CD & DVD printers, blank media. Providing the industry standard of excellence for over 50 years. DUPLICATION DEPOT INC. 7 Brookstan Rd. Nesconset, NY 11767 631-752-0608 E-mail: copymydisc@gmail.com Web: www.duplicationdepot.com Services: CD/DVD transfers, duplication & replication DVDS 911 1000 N. Division, Ste. 2C Peekskill, NY 10566 888-DVD-9555 E-mail: info@dvds911.com Web: www.dvds911.com Services: DVD and CD Replication and Duplication JOE’S PRODUCTION & GRILLE, INC. P.O. Box 2380 New York, NY 10009 888-563-7474 E-mail: joe@joesgrille.com Web: www.joesgrille.com Services: CD manufacturing, indie distribution, indie radio LANDSHARK! CD DUPLICATION & DESIGN, INC. 325 W. 38th St., Ste. 710 New York, NY 10018 212-247-8995 Fax 212-247-8997 E-mail: landsharkcd@gmail.com Web: www.landsharkcd.com Services: CD duplication & design MF DIGITAL 19 W Jefryn Blvd., Ste. 2 Deer Park, NY 11729 631-249-9393 Fax 631-249-9273 Web: www.mfdigital.com Services: CD / DVD duplication, DVD / CD replication, USB duplication PLAY-IT PRODUCTIONS 259 W. 30th St., 3rd fl. New York, NY 10001 800-815-3444 or 212-695-6530 E-mail: info@play-itproductions.net Web: www.play-itproductions.net Contact: Tony Tyler Services: complete CD/DVD manufacturing, printing and packaging, along with graphic design, mastering, and DVD authoring SONY DADC 550 Madison Ave. New York, NY 10022 212-833-7816 Fax 212-833-5962 Web: www.sonydadc.com Services: all DVD and CD media services, printing & packaging
NORTH CAROLINA STUDIO SOUTH 4912 Old Pineville Rd. Charlotte, NC 28217 704-525-0296 E-mail: studiosouthvideo@earthlink.net Web: www.studiosouthmedia.com Services: CD/DVD duplication & transfer TRIANGLE DUPLICATION SERVICES 4913 Professional Ct. Raleigh, NC 27675 919-622-0746 Web: www.triangleduplication.com Services: CD/DVD duplication, printing. Mini DV 8mm & VHS to DVD conversions
NORTH DAKOTA MEDIA PRODUCTIONS 3241 University Dr. S. Fargo, ND 58104 701-237-6863, 800-480-6863 E-mail: linda.massey@mediaproductions. com Web: www.mediaproductions.com Services: CD/DVD duplication
OHIO
Web: www.wtsduplication.com Services: CD and DVD replication and duplication
RHODE ISLAND VISCOUNT STUDIOS 486 Wellington Ave. Cranston, RI 02910 401-467-9362 E-mail: info@viscountrecords.com Web: www.viscountrecords.com Services: CD/DVD duplication, DVD authoring
Additional location: 1201 Villa Place, Ste. 106 Nashville, TN 37212
TEXAS
SOUTH CAROLINA
AM TECH VIDEO, INC. 6585 B Smith Rd. Brook Park, OH 44142 800-262-8723, 216-676-0441 E-mail: tex@atvproductions.com Web: www.atvproductions.com Services: CD/DVD duplication
GRAND SOUTH MEDIA 2 Baneberry Ct. Simpsonville, SC 29680 864-255-9559 Web: grandsouthmedia.com Services: CD/DVD duplication, Upload Music CD, Posters
A TO Z AUDIO 9449 Brookpart Rd., Unit C Parma, Ohio 44129 440-333-0040 E-mail: atozaudio@atozaudio.com Web: www.atozaudio.com Services: CD/DVD duplication & replication, printing
BEAVERWOOD AUDIO VIDEO 133 Walton Ferry Rd. Hendersonville, TN 37075 615-824-2820, 800-524-1633 E-mail: info@beaverwoodaudiovideo.com Web: www.beaverwoodaudiovideo.com
INDIE MERC STORE 3135 Chester Ave. Cleveland, OH 44114 855-210-1412, 216-622-6399 E-mail: info@indiemerchstore.com Web: www.indiemerch.com LITTLE WAREHOUSE, THE 900 Resource Dr., Ste. 8 Brooklyn Heights, OH 44131 800-445-8273 or 216-398-0022 Web: www.thelittlewarehouse.com Services: CD/DVD duplication
OKLAHOMA TULSA MEDIA GROUP Tulsa, OK 918-743-6614 Fax 918-743-6618 E-mail: chris@tulsamediagroup.com Web: www.tulsamediagroup.com Services: CD/DVD duplication, design, printing
OREGON A TO Z MEDIA 524 E Burnside St., Ste. 230 Portland, OR 97214 503-736-3261 E-mail: info@atozmedia.com Web: www.atozmedia.com Services: DVD, CD, cassette and CD-ROM duplication/replication, design, printing. CRAVEDOG CD & DVD MANUFACTURING 611 N. Tillamook St., Ste. B22 Portland, OR 97227 503-233-7284, 866-469-9820 E-mail: info@cravedog.com Web: www.cravedog.com Contact: Michael Fitzgerald Services: CD, CD-ROM, DVD, CD Biz Card replication, printing, packaging, graphic design, promo items & apparel CRAZY DAISY PRODUCTIONS 8540 SW Monticello St. Beaverton, OR 97008 541-517-1458 E-mail: info@crazymastering.com Web: www.crazymastering.com Services: Mixing, Mastering, Duplication MEGALODON MANUFACTURING 888-234-2283 E-mail: hello@megalodon.com Web: megalodon.com
PENNSYLVANIA CINRAM 1400 E. Lackawanna Ave. Olyphant, PA 18448 570-383-3291 Web: www.cinram.com Services: CD and DVD replication in all formats and all related services including packaging and design FREEDOM DISC USA Five Vertical Dr. Canonsburg, PA 15317 724-745-7646 , 888-638-2997 E-mail: info@freedomdisc.com Web: www.freedomdisc.com Services: DVD, Blu-ray and CD replication and duplication, creative services, DVD and Blu-ray Authoring, CD Content development, design, printing, assembly, fulfillment, e-commerce solutions, and On Demand Disc Publishing.
ARCUBE 959 E. Collins Blvd., Ste. 123 Richardson, TX 75081 877-677-9582, 972-267-1800 E-mail: sales@arcube.com Web: www.arcube.com Additional locations: Houston, TX 832-573-9444
TENNESSEE
Austin, TX 877-677-9582 BLUEBONNET MEDIA GROUP, INC 2605 Alexa Ct. Plano, TX 75075 972-985-9304, 214-803-9920 E-mail: info@bluebonnetmediagroup.com Web: www.bluebonnetmediagroup.com Services: CD/DVD, Video production
CINRAM 437 Sanford Rd. LaVergne, TN 37086 615-287-3800 E-mail: info@cinram.com Web: www.cinram.com Services: packaging, distribution CRT 7532 Hickory Hills Ct. White Creek, TN 37189 800-453-2533, 615-876-5490 E-mail: rgill@crtcustomproducts.com Web: www.crtcustomproducts.com Services: CD, CD-ROM, DVD manufacturing, printing, packaging, fulfillment, mailing service, turned edge products.
CROWN CD DUPLICATION 3636 S. Alameda St., Ste. B-209 Corpus Christi, TX 78411 888-460-0045, 361-882-8881 Web: www.crowncd.com Contact: Joseph Metz Services: manufacturing audio CDs, also can handle any type of data recording needs, from recording artists to businesses that have to duplicate information on a CD or DVD format. We even convert videocassettes to DVDs
DISC MAKERS 1200 Division St., Ste. 102 Nashville, TN 37203 800-468-9353, Fax 856-661-3450 Web: www.discmakers.com Services: CD/DVD manufacturing, graphic design, printing, packaging, authoring, mastering, manual & automated CD & DVD printers, blank media. Providing the industry standard of excellence for over 60 years.
CRYSTAL CLEAR DISC PROMO & APPAREL 10451 Markison Rd. Dallas, TX 75238 800-880-0073 E-mail: jim@crystalclearcds.com Web: www.crystalclearcds.com Services: CD, CD-ROM, Cassette, DVD replication, printing, packaging, mastering, graphic design, fulfillment, promo items
EARMARK DIGITAL 917 8th Ave. S. Nashville, TN 37203 615-782-2030, 888-777-7172 E-mail: info@earmarkdigital.com Web: www.earmarkdigital.com
HOUSTON CD FACTORY 9135 Katy Fwy., Ste. 204 Houston, TX 77024 713-526-6874 Fax 713-526-2221 E-mail: info@aroundhouston.com Web: www.houstoncdfactory.com Services: CD and DVD production, duplication and replication, CD and DVD graphic design and packaging.
NASHVILLE TAPE & MEDIA SUPPLY 1201 Villa Place, Ste. 106 Nashville, TN 37212 615-254-8178, 800-591-4804 Web: www.ntspromedia.com NATIONAL MEDIA GROUP A World Media Group Company 1302-B Division St. Nashville, TN 800-874-4174, 317-549-8484 E-mail: info@worldmediagroup.com Web: www.worldmediagroup.com Services: CDR, DVDR duplication, CD, DVD replication, USB Drives, graphic design, packaging, fulfillment and warehousing. NEW LIFE DIGITAL MEDIA 1233 Northgate Business Pkwy. Madison, TN 37115 615-868-1179 E-mail: info@newlifedigitalmedia.com Web: www.newlifedigitalmedia.com Services: CD, DVD Replication and Duplication (Nashville’s only in-house replicators), short run services, print, packaging, fulfillment, mastering SWIFT MUSIC GROUP INC. 4117 Edwards Ave. Nashville, TN 37216 615-650-0928 E-mail: info@swiftmusicgroup.com Web: www.swiftmusicgroup.com WE MAKE TAPES, CD’S & VIDEOS 118 16th Ave. S. Nashville, TN 37203 615-244-4236, 888-271-3472 E-mail: csr@wemaketapes.com Web: www.wemaketapes.com WTS DUPLICATION 2841 Hickory Valley Rd. Chattanooga,TN 37421 800-251-7228 E-mail: sales@wtsmedia.com
NATIONWIDE DISC 7370 Dogwood Park Richland Hills, TX 76118 1-866-704-3579, 817-885-8855 E-mail: information@nationwidedisc.com Web: www.nationwidedisc.com REPLICOPY 2101 Midway Rd., Ste. 200 Carrollton, TX 75006 972-702-8388 Web: www.replicopy.com Services: CD/DVD duplication & replication
UTAH DIGITAL WORKS INC. 3487 W. 2100 S., Ste. 50 Salt Lake City, UT 84119 888 302-7665, 801-886-2200 E-mail: info@digitalworks-inc.com Web: www.digitalworks-inc.com Services: CD/DVD replication, printing & packaging HIT TRACKS STUDIOS / VEGAS DISC Tom Parham 128 W. 400 N. Cedar, City, UT 84721 702-481-1663, 800-246-5667 E-mail: sales@vegasdisc.com Web: www.lasvegasmastering.com, www.hittrackstudios.com, www.vegasdisc.com Contact: Tom Parham Services: Custom CD/DVD duplication and replication, Blu-ray replication & USB duplication, Full color offset printing and packaging. Multi-track recording, CD Mastering & DVD authoring services. Duplication & Pro audio equipment sales. Replication equipment by Singulus, Guann Yinn, Heino and Gima with and 10 million per month capacity. Studio and Mastering equipment include, SSL, NEVE, API,
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Annual Directory of Everything Promo MANLEY, HDCD, Sonic Solutions, Pro-Tools & Final Cut Pro LARSEN DIGITAL SERVICES 1144 W. 2700 N. Pleasant View, UT 84404 800-776-8357, 801-782-5155 E-mail: info@larsendigital.com Web: www.larsendigital.com Services: CD/DVD duplication & replication MEDIAFAST 767 S. Auto Mall Dr., Suite 8 American Folk, Utah 84003 888-756-8890 Web: www.mediafast.net Services: CD, DVD, Blu-Ray duplication, replication, authoring, testing and complete packaging solutions
VERMONT VERMONT DUPLICATION 802-734-8836 Hinesburg, VT E-mail: info@vermontduplication.com Web: www.vermontduplication.com Services: CD/DVD duplication VIDEOSYNCRACIES INC 180 Flynn Ave. Green House Building Burlington, VT 05401 802-861-6161, 800-559-0000 E-mail: paul@vidsync.com Web: www.vidsync.com Services: DVD & CD duplication, from 1 to 1000 FAST with awesome on-disc label printing. DVD & CD Replication, as few as 500 factory pressed. DVD authoring full service video production and editing video transfer to DVD.
VIRGINIA DATADISC, INC. 1289 Progress Dr. Front Royal, VA 22630 800-328-2347 ext. 1, 540-622-5580 Fax 540-622-5591 E-mail: infonow1@datadisc.com Web: www.datadisc.com Services: CD replication and duplication services, any quantity. CD-Audio packages, screen printing, ExpressDisc. FURNACE MFG MEDIA DUPLICATION SOLUTIONS 2719-B Dorr Ave. Fairfax, VA 22031 888-599-9883, 703-205-0007 E-mail: sales@furnacemfg.com Web: www.furnacemfg.com Services: CD & DVD duplication and replication, print, packaging, design and fulfillment. Audiophile vinyl manufacturing, print, and packaging. Premium Optical Disc manufacturing CD, DVD, CD-R, DVD-R, pre-press, packaging, DVD & Enhanced, CD authoring. USB drive branding and loading. iPod loading. TRIPLE DISC MEDIA AND CD/DVD DUPLICATION 11827 Main St. Fredericksburg, VA 22408 800-414-7564 E-mail: sales@tripledisc.com Web: www.tripledisc.com
WASHINGTON DISC MAKERS 16300 Christensen Rd., Ste. 310 Tukwila, WA 98188 800-468-9353 Web: www.discmakers.com Services: replication, mastering, DVD authoring, short-run CD duplication, packaging, on-disc Printing, CD/DVD printers, blank CD/DVD. Providing the industry standard of excellence for over 50 years. REALTIME A Duplication Corporation 9594 First Ave. N.E., Ste. 350 Seattle, WA 98115-2028 206-523-8050 Fax 206-524-0711 E-mail: pip@realtimepip.com Web: www.realtimepip.com Services: CD/DVD duplication & replication, design
WEST VIRGINIA HOME VIDEO STUDIO OF WEST VIRGINIA 1041 Bridge Rd. Charleston, WV 25314 877-307-0888, 304-307-0888 E-mail: sabe.e@gmail.com Web: www.dvdwv.com Services: video duplication, 8mm to DVD, video editing, VHS to DVD & DVD transfer
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TELVIDEO & AUDIO PRODUCTIONS 231 Heritage Dr. Huntington, WV 25704 304-529-4480, 304-417-4480 E-mail: telvideo1@netzero.net Web: www.telvideo-audio.com Services: audio/video transfers
WISCONSIN A TO Z MEDIA 338 N. Milwaukee St., Ste. 406 Milwaukee, WI 53202 414-289-0982 E-mail: info@atozmedia.com Web: www.atozmedia.com Services: DVD, CD, cassette and CD-ROM duplication/replication, design, printing VIP DUBS 4401-B Femrite Dr. Madison WI, 53716 800-952-1416 or 608-222-8818 Fax 608-222-3348 E-mail: sales@vipdubs.com Web: www.vipdubs.com Services: CD/DVD duplication & replication
WYOMING BALL ADVERTISING GROUP, INC. 355 N. Lincoln St. Casper, WY 82601 307-234-3472 E-Mail: INFO@balladv.com Web: www.balladv.com Services: digital editing INTEGRATED IMAGING 1743 E. 2nd St. Casper, WY 82601 800-780-3805, 307-266-3805 E-mail: info@iilabs.com Web: www.iilabs.com Services: video & audio duplication
CANADA & MEXICO CINRAM 2255 Markham Rd. Toronto, Ontario M1B 2W3 416-298-8190 Web: www.cinram.com Services: CD and DVD replication in all formats and all related services including packaging and design DUPLIUM Canadian Headquarters: 35 Minthorn Blvd. Thornhill, ON Canada L3T 7N5 905-709-9930, 1-800-819-0701 E-mail: infor@duplium.com Web: www.duplium.com
52 5 55 3213 600 Web: sdm.sony.com Services: all DVD and CD media services, printing & packaging
PROMO SITES BANDCAMP Web: http://www.bandcamp.com Notes: promote music, all genres BANDS IN TOWN Web: http://www.bandsintown.com Notes: shows BAND VISTA Web: http://www.bandvista.com Notes: band website creation
CHIRPIFY Web: http://www.chirpify.com Notes: Twitter app for distribution / online retail GUMROAD Web: http://www.gumroad.com Notes: Twitter app for distribution / online retail HELLO MERCH Web: http://hellomerch.com MERCHNOW Web: http://merchnow.com MOOZAR Web: http://www.moozar.com
BANDZOOGLE Web: http://www.bandzoogle.com Notes: band website creation
ORCHARD Web: http://www.theorchard.com
BOMBPLATES Web: http://www.bombplates.com Notes: band website creation
TUNECORE Web: http://www.tunecore.com
BUTTERFLIES RADIO Web: http://www.butterfliesradio.com Notes: indie music internet radio, music submission opps. DATPIFF Web: http://www.datpiff.com Notes: music promo, hip-hop mixtapes, R&B
TUNECUBE Web: http://www.tunecube.com UBETOO Web: http://www.ubetoo.com Notes: make money off YouTube videos
FAN/MAIL/CAREER MGMT
DJ BOOTH Web: http://www.djbooth.net Notes: hip-hop promo, music reviews
ARTIST GROWTH Web: http://www.artistgrowth.com Notes: career management
EVENTFUL Web: http://www.eventful.com Notes: shows
COPROMOTE Web: http://www.headliner.fm Notes: Twitter/Facebook reaching new fans
FOUR FOUR Web: http://www.fourfour.com Notes: band website creation
FANBRIDGE Web: http://www.fanbridge.com Notes: fan management
HIP HOP CONCERTS Web: http://www.hiphopconcerts.com Notes: #1 site listed on Google.com for hiphop concert information. Submit your concert/ tour dates nationwide.
IFANZ Web: http://www.Ifanz.com Notes: fan management
HOMEGROWN HITS Web: http://www.homegrownhits.com Notes: Billboard-like chart for indie artists, all genres, competition INDIE ARTIST RADIO Web: http://www.indieartistradio.net Notes: music promo
MUSICMETRIC Web: http://musicmetric.com Notes: Helps calculate act’s buzz ONLYWIRE Web: http://www.onlywire.com Notes: Post to 47 social networks TOUT Web: http://www.tout.com Notes: 15 second video messaging to fans
MICROFORUM 1 Woodborough Ave. Toronto, ON, Canada M6M5A1 416-654-8008, 1-800-465-2323 Web: www.microforum.ca Services: CD & DVD replication and digital download cards, prints & USB
INDIE ON THE MOVE Web: http://www.indieonthemove.com Notes: Venue reviews MERCH DIRECT Web: http://www.merchdirect.com Notes: merch
ARTIST DATA Web: http://www.artistdata.com/us Notes: Helps organize social media
MUSIC MANUFACTURING SERVICES 636 King St. W. Toronto, ON M5V 1M7 416-364-1943, 800-667-4237 E-mail: dave@musicmanufacturing.com Web: www.musicmanufacturing.com Services: Quality CD & DVD Manufacturing, short run, graphic design, mastering, digital download cards, eco-packaging, posters, DMDS radio servicing
MOSHKING Web: http://www.moshking.com Notes: shows, SoCal metal
BANDATING Web: http://www.bandating.com Notes: networking
NIMBIT Web: http://www.nimbit.com Notes: show, music, merch promo
CONCERTS IN YOUR HOME Web: http://concertsinyourhome.com
Additional locations:
PUREVOLUME Web: http://www.purevolume.com Notes: music promo
NETWORKING/SOCIAL/GIGS
FESTIVAL NET Web: http://www.festivalnet.com Notes: find & book festival gigs
REVERBNATION Web: http://www.reverbnation.com Notes: music promo
MUSIC 180 Web: http://www.music180.com Notes: artist development platform
SECTION 101 Web: http://www.section101.com Notes: website creation
MUSIC2DEAL Web: http://www.music2deal.com Notes: networking
MMS Atlantic Disc and DVD St. Johns’s 1266 Kenmount Road Paradise, NL AiL 1N3 709-579-6001, 877-579-6001 E-mail: robert@musicmanufacturing.com Web: www.mmsdirect.com
SONGKICK Web: http://www.songkick.com Notes: shows
MUSICIANS CONTACT Web: http://www.musicianscontact.com Notes: Find musicians, gigs
STAGEIT Web: http://www.stageit.com Notes: stream shows
MUSIC PAGE Web: http://www.musicpage.com Notes: social network for music industry
SONY DADC Norelco Drive/Courtney Park Toronto, Ontario, Canada 416-3917-970 Web: sonydadc.com Services: all DVD and CD media services, printing & packaging
STORE ENVY Web: http://www.storenvy.com Notes: merch
MUSIC UNITED Web: http://musicunited.com Notes: Social media platform for artists and fans
MMS Disques et DVD 6750 Ave. de l’Esplanade Ste. 325 Montreal, QC H2V 4M1 514-935-0410, 888-838-7129 E-mail: mike@mmsdisquesetdvd.com Web: www.mmsdisquesetdvd.com
SONY MUSIC ENT. MEXICO Henry Ford No. 3 Fracc. Industrial San Nicholas C.P. 54030 Tlalnepantla Edo. De Mexico
musicconnection.com
TWITMUSIC Web: http://www.twitmusic.com Notes: Twitter app for selling music
DISTRIBUTION / ONLINE RETAIL CD BABY Web: http://www.cdbaby.com Notes: distribution/online retail
SONICBIDS Web: http://www.sonicbids.com Notes: Social music marketing platform, connects bands, promoters, brands & fans WEGETNETWORKING Web: http://wegetnetworking.com
Download at www.musicconnection.com/industry-contacts LICENSING BROADJAM Web: http://www.broadjam.com Notes: licensing FILMMUSIC.NET Web: http://www.filmmusic.net Notes: licensing MUSIC2DEAL Web: http://www.music2deal.com MUSIC SUPERVISOR Web: http://www.musicsupervisor.com TAXI Web: http://www.taxi.com Notes: licensing
INFORMATION / OPPORTUNITIES DATAMUSICATA Web: http://www.datamusicata.com Notes: info/articles for artists, blog style DIGITAL MUSIC NEWS Web: http://www.digitalmusicnews.com Notes: Up-to-date industry news HIP HOP MAKERS Web: http://www.hiphopmakers.com Notes: articles for hip-hop producers HYPEBOT Web: http://www.hypebot.com Notes: music business news and articles INDABA MUSIC Web: http://www.indabamusic.com Notes: opps, contests INDIE BIBLE Web: http://www.indiebible.com Notes: contacts, info INDIE MUSIC Web: http://www.indie-music.com Notes: info on everything indie KINGS OF A&R Web: http://www.kingsofar.com Notes: opps MUSIC CLOUT Web: http://www.musicclout.com Notes: opps, info articles MUSIC NOMAD Web: http://www.musicnomad.com Notes: music industry resources listing THE MUSIC OPS BOARD Web: https://www.musicpage.com Notes: opps MUSIC REGISTRY Web: http://www.musicregistry.com Notes: music industry directories MUSIC XRAY Web: http://www.musicxray.com Notes: submissions for opps, licensing SONGWRITER 101 Web: http://www.songwriter101.com Notes: info/articles SONICBIDS Web: http://www.sonicbids.com Notes: opps STAR POLISH Web: http://www.starpolish.com Notes: opps, info, articles TAXI Web: http://www.taxi.com Notes: opps/info TRUE TALENT MANAGEMENT Web: http://truetalentmgmt.wordpress.com Notes: articles/info
BLOGS 2DOPEBOYZ Web: http://www.2dopeboyz.com Notes: hip-hop blog ALLHIPHOP Web: http://allhiphop.com/ Notes: hip-hop blog ARI’S TAKE Web: http://aristake.com Notes: Artist blog on the industry AQUARIUM DRUNKARD Web: www.aquariumdrunkard.com/ Notes: blog
BROOKLYN VEGAN Web: www.brooklynvegan.com Notes: blog DATAMUSICATA Web: www.datamusicata.com DAT PIFF Web: www.datpiff.com Notes: blog, hip-hop mixtapes DJ BOOTH Web: www.djbooth.net Notes: blog, hip-hop, R&B, soul HIPHOPDX Web: www.hiphopdx.com Notes: blog, hip-hop, r&b, soul INVISIBLE ORANGES Web: www.invisibleoranges.com Notes: blog, heavy metal KEVIN NOTTINGHAM Web: www.kevinnottingham.com Notes: underground hip-hop blog KINGS OF A&R Web: www.kingsofar.com Notes: blog LA MUSIC BLOG Web: www.lamusicblog.com Notes: blog LHYME Web: www.lhyme.com Notes: up-and-coming indie music and food fusion website out of Nashville. the feature a different indie artist each week or month and create recipes inspired by the artists background, music style, lifestyle and favorite foods. LEFSETZ LETTER Web: http://lefsetz.com Notes: Music industry analysis LOSANJEALOUS Web: www.losanjealous.com Notes: blog, show listings MICHAEL DOLAN’S BLOG Web: jmichaeldolan.com Notes: Founder and previous Publisher of Music Connection PITCHFORK Web: www.pitchfork.com Notes: blog RADIOLAB Web: www.Radiolab.org Notes: blog SINGERSROOM Web: www.singersroom.com Notes: blog, R&B/Soul SOUL BOUNCE Web: www.soulbounce.com Notes: blog, R&B/Soul STEREO GUM Web: www.stereogum.com Notes: blog THE HYPE MACHINE Web: www.hypem.com Notes: blog
OTHER ARTIST SHARE Web: www.artistshare.com Notes: fan funding like Kickstarter GIG INDIE Web: www.gigindie.com Notes: other KICKSTARTER Web: www.kickstarter.com Notes: fund raising website for DIY artists SELL A BAND Web: www.sellaband.com SOUND EXCHANGE Web: www.soundexchange.com Notes: collecting online royalties TUNESAT Web: www.tunesat.com Notes: collecting royalties UPLAYA Web: www.uplaya.com Notes: judges song “hit” potential
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– BOBBY OWSINSKI
10 Reasons Why Your Merch Doesn’t Sell & 5 Ways To Sell What’s Not Selling
M
ost artists today are more concerned than ever with their merch sales but are frequently baffled when they find they’re not selling as much as they anticipated. If that’s you, here are 10 possibilities why people are not stepping over one another to buy your offerings. Chances are that at least a couple of the following are occurring. Here they are in descending order. (The following tips are excerpted from Bobby Owsinski’s “Selling Music Merchandise” course at http://Lynda.com.) 10. Your merch is the same on every tour. You can’t expect people to purchase an item they already have, even if they really want to buy something from you. Try to vary either the
but make sure that you’re making enough money to make a profit and cover all costs and expenses. (Very important!) 7. Your merch table isn’t bright enough. A dark merch table is very uninviting, and some people can even miss it completely. Besides, if people can’t see what they’re buying, they probably won’t buy it. 6. The location of the merch table is bad. Just like with real estate, with a merch table it’s all about location, location, location. You can have the most attractive merch in the world but no one will buy it if they can’t find it. 5. You don’t have someone at your merch table all night. While you’ll probably get the most traffic right after you play, you’d be
2. The guys in the band refuse to promote merch. Musicians hate to be salesman, but this one’s actually pretty easy to overcome. Just have them hang out at the merch table after the gig. All they have to do is meet and greet the fans that want to talk and the merch will do the rest. 1. You don’t connect with your audience while you’re performing. Let’s face it, if no one likes you or your music, they’re probably not going to buy your merch either. These are 10 reasons why you’re probably not selling merch, but each of them can be easily turned around. With just a little effort, you can sell a lot more than you ever thought possible.
5 Ways To Sell What’s Not Selling Sometimes that great merch idea turns out to be a bomb. Even the major retails have a clunker every once in a while, so why not do what they do to get rid of that dead inventory and start with something new? Try these five sales tips. 1. Price it right. You’re probably not going to make your money back on the item, so just buck up and clear it out so you can move on to another product. Price it to where it becomes almost an impulse buy. 2. Bundle it. Put it into a package with a hot selling item at either a slightly higher cost than the hot item, or even at no additional charge. You may sell more of your hottest item because of the “extra bonus.” 3. Place the slow mover in the front. Sometimes an item doesn’t sell because it’s not featured or noticed. Try moving it to the front of the merch table so it’s the first thing that a customer sees.
design, color or add new items so the hardcore fans have something to buy. 9. Your merch is designed poorly. It pays not to skimp on the graphic design when it comes to merch, since you’ll sell a lot more if it’s attractive. Hiring a professional graphic designer is worth every penny if that helps the items sell like hotcakes. Remember that people don’t want ugly items no matter how much they like the band or how inexpensive they are. 8. You’ve priced it wrong. Many artists can’t get a grasp on pricing, but it can be a lot easier than you think. Remember that other bands are selling roughly the same kind of merch, so fans know when they’re getting a deal and when they’re being ripped off. Do some research to make sure that your prices are in the ballpark, 62 70 September 2014
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surprised how much you can sell at other times during the show. If your table can’t be manned at those times, you’ll lose those potential sales. 4. You don’t take debit or credit cards. This is inexcusable these days, with services like Square and PayPal that are so inexpensive and easy to implement. 3. You think that the money from merch won’t make much of a difference. You don’t make the effort because you underestimate the importance of earning an extra $100 to $200 per show. It may not seem like a lot, but it all adds up over time. If you play 20 gigs a year and sell an average of $100 per gig, that’s $2,000, which could pay for a lot of gas while it covers the investment in the merch itself.
4. Improve your signage. Create a sign specifically regarding the slow moving item. 5. Make it the “Pick of the Week.” Sometimes just saying something is cool can make it so. If it’s the lead singer’s “favorite merch item,” that could be enough of an endorsement needed to close the sale.
PRODUCER/ENGINEER BOBBY OWSINSKI is one of the best selling authors in the music industry with 23 books that are now staples in audio recording, music and music business programs in colleges around the world. He’s also a contributor to Forbes and he’s appeared on CNN and ABC News as a music branding and audio expert. Visit his music production blog at http://bobbyowsinski.blogspot.com/, his Music 3.0 music industry blog at http://music3point0. blogspot.com, his podcast at http://bobbyoinnercircle.com, and his website at http://bobbyowsinski.com.
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Whatever your audio recording needs, there’s a Focusrite Scarlett interface for you. All you have to do is choose. Check out the full Scarlett Range at: www.focusrite.com/Scarlett
. 2 Focusrite Mic Pres . 2 mic/line/instrument combination inputs . Stereo line inputs, 2 headphone amps . 4 line outputs, MIDI and S/PDIF I/O
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Tracked on her iPadŽ with new Capture™ Duo. Beamed wirelessly to her laptop and mixed with Studio OneŽ 5fί gh" Available for sale to her fan base the same day via NimbitŽ. The iOne and iTwo are the only 96kHz USB 2.0 interfaces with a seamless suite of easy-to-use TPΞ XBSF UIBU FODPVSBHFT ZPVS DSFBί WJΜ Š2014 PreSonus Audio Electronics., Inc. All Rights Reserved. iOne, iTwo and Nimbit are trademarks or registered trademarks of PreSonus Audio Electronics, Inc. Capture and Studio One are trademarks or registered trademarks of PreSonus Software Ltd. All other marks are property of their respective holders. Except any smudges you get on this magazine. Those marks are solely your property.
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