Music Connection's April 2013 Issue

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CONTENTS

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Paramore

Artist Profile

In this exclusive interview, Hayley Williams discusses every aspect of the new album, PARAMORE––choosing the right producer, expanding her songwriting chops and the major adjustment of creating new music without two of the band’s original members.

By Andy Mesecher

50 The superstar rapper discusses how he’s managed to maintain his street cred. By Andy Kaufmann

36 Photo by: Jody Domingue / All Others: Pamela Littkey

Guitar & Bass Jam 2013

Departments

MC speaks with five acclaimed musicians, whose revealing comments deliver plenty of useful insights and advice.

By Oscar Jordan

42

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46 PHOTOS: JODY DOMINGUE

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Directory of Guitar/Bass Instructors & Services If you’re a guitarist or bassist in need of a qualified coach or teacher, you’ll find plenty to choose from in MC’s extensive list. And connecting with repair specialists is a snap, too, using this contact list, fully updated for 2013.

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Compiled By Denise Coso

Producer Crosstalk: Ryan Hadlock . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam Exec Profile: Adam Rabinovitz, Rdio . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann Songwriter Profile: Ali Tamposi . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel Career Connection: MondoTunes . . . . . . . . . . . . . . . . . . . . . . . . . . . By Brett Bush Tip Jar: Selling Your Royalties? Be Careful! . . . . . . . . . . . . . . . . . . . . By Brian Tarquin 4

April 2013

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Close Up Assignments New Toys Book Store Up Close Studio Mix Business Affairs Signing Stories Song Biz Film/TV/Theater Mixed Notes

Reviews 52. CD Reviews 54. New Music Critiques 56. Live Reviews

Be sure to follow Music Connection on Facebook and Twitter. Check out our Social Space to connect with fellow music-makers.

The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information.

THE ONLY U.S. MUSIC CONFERENCE 100% DEDICATED TO SONGWRITERS AND COMPOSERS! The ASCAP “I Create Music” EXPO brings the most successful music creators together for three days of education, networking and inspiration.

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In Conversation

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!N>O'C'&H5'PKJ/,+G' 0HWKRG·V .HQ -RUGDQ In Conversation

&RQÀ UPHG 3DQHOLVWV LQFOXGH Antonina Armato Brendan Benson Aloe Blacc Congresswoman Marsha Blackburn Boi 1da Mike Brinkley Michael Brook Darrell Brown Don Cannon

Congresswoman Judy Chu Mike Daly Adam Epstein James Fauntleroy Roger Friedman Andrew Gould Tom Higgenson (Plain White T’s) Mike King Brandon Kitchen

Holly Knight Savan Kotecha Ledisi James S. Levine Liz Leahy J.R. Lindsey Nate Lowery David Margolis Sara Matarazzo

Matthew J. Middleton, Esq. Bob Moczydlowsky Nico Muhly No I.D. Tab Nkhereanye Dan “ROBOPOP” Omelio Eric Priest Priscilla Renae Benji Rogers

Taeko Saito Richard Stumpf Sam Taylor Beka Tischker Jill Tschogl Emily White Alex White Paul Williams ...and more to come!

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OPEN TO ALL MUSIC CREATORS REGARDLESS OF AFFILIATION !"#$%&'

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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

denisec@musicconnection.com

ART DIRECTOR

artdirector@musicconnection.com

Hillorie Rudolph Mukul Chauhan MARKETING/ ADVERTISING MANAGER

hillorier@musicconnection.com

DIRECTOR OF ONLINE OPERATIONS

mukulchauhan16@gmail.com

Mira Abas Andy Mesecher ACCOUNT EXEC/ARTIST RELATIONS

mira@musicconnection.com

ASSOCIATE EDITOR

andym@musicconnection.com

Gary J. Stephens Bernard Baur ADVERTISING ART DIRECTOR

garys@musicconnection.com

CONTRIBUTING EDITOR bbatmc@aol.com

Barry Rudolph Dan Kimpel NEW TOYS

barry@barryrudolph.com

SONG BIZ

dan@dankimpel.com

Denise Coso Tom Kidd DIRECTORY EDITOR

denisec@musicconnection.com

FILM, TV, THEATER

prespak1@verizon.net

FEATURE WRITERS

Andy Kaufmann andy.kaufmann@comcast.net Rob Putnam toe2toe6@hotmail.com Editorial Intern Hana Song intern@musicconnection.com

Pro Tools HD Systems Vintage Analog & Digital Equipment

PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, Karen Emmert, Kevin Estrada, Corey Irwin, Oscar Jordan, David Klein, Dave Long, Thomas Long, Kim Mack, Cindy Miley, Paula Muñoz, Jessica Pace, Scott Perham, Rob Putnam, Tim Reid Jr., Danny Seyum, Daniel Siwek, Brian Stewart, Dave Stone, E. H. Tiernan, Brooke Trout, Albert Vega, Ellen Woloshin

Live Recording Flight Packs Mobile Recording Truck DESIGN

FX A U D I O R E N T A L S

delivering seriously cool audio gear since’83

800 . 441 . 4415

April 2013

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

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MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 14654 Victory Blvd., Van Nuys, CA 91411. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the US, add $25 (US 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 © 2013 by E. Eric Bettelli. All rights reserved. CORPORATE HEADQUARTERS 14654 Victory Blvd. Van Nuys, CA 91411 Office: 818-995-0101 Fax: 818-995-9235 Email Address: contactmc@musicconnection.com Website: http://musicconnection.com Legal Counsel: Christopher J. Olsen / chris@chrisolsenlaw.com

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CONTRIBUTING WRITERS Allegra Azzopardi, Bernard Baur, Fuchsia Black, Brett Bush, Stefan Broadley, Karen Emmert, Gary Graff, Eric A. Harabadian, Corey Irwin, Oscar Jordan, Andy Kaufmann, Dawna Kaufmann, David Kershenbaum, Kim Mack, José Martinez, Dean Moore, Paula Muñoz, Jessica Pace, Rob Putnam, Tim Reid Jr., Adam Seyum, Daniel Siwek, Matt Schild, Brian Stewart, Laurier Tiernan, Brooke Trout, Albert Vega, Catherine Veit, Jonathan Widran, Ellen Woloshin

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DEEDEE O’MALLEY By Jonathan Widran stimating that she has helped over 3,000 songwriters take their skills E to the next level, multi-award-winning songwriter Deedee O’Malley brings a dynamic array of accolades and experiences to her multi-faceted

e are a four year college that takes sound seriously! Learn Audio Recording for Studio, Live Performances, Movies & TV

Five Towns College

Open House Saturday, April 13 at 1 PM

631.656.2110 305 N. Service Road Dix Hills, NY 11746 www.ftc.edu 9M<AG J=;GJ<AF? L=;@FGDG?Q ;GEHGKALAGF'KGF? OJALAF? EMKA; L=9;@=J =<M;9LAGF EMKA; :MKAF=KK EMKA; H=J>GJE9F;= EMKA; 9D L@=9LJ= EMKA; L=;@FGDG?Q EMKA; @AKLGJQ 8

April 2013

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work as a first-call songwriting coach and consultant. With her studio based out of North Hollywood, CA—where she works one on one—O’Malley also operates via Skype and at three-day boot camps and seminars, leaving her songwriting “footprint� everywhere from Nashville, TN to Clearwater, FL and the island of Aruba. The three-time winner of the John Lennon Songwriting Contest and winner of the Los Angeles Music Awards’ Singer-Songwriter of the Year is a seasoned performer who has opened shows around the US for Glen Campbell, Chris Cagle and Stephen Bishop. In April, she will be opening for Santana at an awards ceremony at the Los Angeles Museum of Natural History, sponsored by Relativity Media. O’Malley has also shared the stage with country greats Willie Nelson, Kenny Rogers and LeAnn Rimes. In addition, this songwriter has released four award-winning CDs and recently had 21 actors singing 20 of her songs in her third musical which opened at The Matrix Theatre in Hollywood 6 months ago. She is one of the theme songwriters for Fox’s Live Life and Win and has had several songs in film and television. In 2006, O’Malley published 10 Easy Steps to Writing a Song, a popular interactive e-book that doesn’t simply take the writer step by step through the journey of creating a song—it includes assignments for the user to complete three full songs by the closing chapter. Those who are unable to interact with O’Malley in the more personal settings can benefit from her wisdom with the downloadable online 10 Easy Steps to Writing a Song video, which shows the first hour of one of her renowned songwriting boot camps where she lays down the fundamentals. The home seminar package includes the 10 Easy Steps interactive e-book. Watching the video, students will learn: what makes a hit song; how to cure writer’s block forever; how to write intelligent and clever lyrics; a simple method to write unforgettable melodies; all about song structure; how to sell your songs; and much more via http://song writingbootcamp.com. When recording artists are putting together original songs for their debut album, there are many benefits they can receive from working with a seasoned writer—including emerging from a session with a polished song that is ready to pitch (it’s a 50/50 split if it ends up being a co-write). O’Malley recently worked with an X-Factor finalist who came to her with a half written chorus. She helped the singer write a song, which was later produced by a top producer who had worked with Patti Labelle and Aretha Franklin. O’Malley also worked with a 13-year-old female singer via Skype and emerged with a song that has elicited the interest of L.A. Reid. “When you write with a seasoned songwriter,� says O’Malley, “you’re working with someone who knows exactly the steps to get the song from point A to point B, someone who can help you organize your thoughts and knows exactly how to get your message or idea across with very little effort. Even if the client can’t write a great song right away, by seeing how I go about the process, they learn by observation. “One of the keys is deciding who is singing the song, and who is that person singing to,� O’Malley adds. “It starts with that conversation and leads to other necessary decisions. My first album was called ‘Simple’ and that’s my motto. If a song isn’t simple, it’s not right. It’s pretty certain that if an artists comes to my studio to work with me, they will leave with a song. If you’re already an incredible writer, I can help you become even better. If you’re great, you’re going to be extraordinary. If you’ve never written a song before, you’re going to know how. I know it’s a great song if I hear it and can’t stop singing it and want to share it with everyone I love. It’s one that inspires you to want to memorize every single word.� Contact Deedee O’Malley, 888-269-8896

Nicole Wyskoarko

Mark Mayfield

Island Def Jam Music Group (IDJMG) has promoted Nicole Wyskoarko to Senior Vice President, Business & Legal Affairs. Wyskoarko will now oversee these duties for the Island Def Jam artist roster, including negotiating and structuring recording agreements, label deals and joint ventures, manufacturing and distribution agreements, as well as agreements concerning new media. Following the completion of her undergraduate degree at USC, she started an internship in 2002 at IDJMG while finishing her legal studies at Brooklyn Law School. Upon graduation, she accepted an entry-level attorney position at the IDJMG B&LA Department, ascending to the post of Vice President in just six years. Contact renata.muniz@umusic.com.

Mark Mayfield has joined QSC Audio Products as Cinema Marketing Manager. In his new role, Mayfield will be responsible for developing and executing marketing programs as well as providing sales and technical support for the acclaimed QSC Cinema line of products. Mayfield has worked as a recording/live sound engineer and has extensive experience in cinema product marketing for firms including Bose Corporation, Harman International and Eastern Acoustics Works. Prior to joining QSC, Mayfield held several editorial positions, launching major industry trade publications, and has authored dozens of articles and reports on cinema sound and AV technology and their various applications. Contact margaret@msmediainc.com.

Allison Meiresonne

Dennis Reese

Man Made Music has announced the promotion of Allison Meiresonne to the position of President, Brand Partnerships. Meiresonne has been a vital part of the Man Made Music team for the past five years, quickly advancing to VP of Business Development and Partnerships. In this role, Meiresonne has played an integral role in developing and securing successful partnerships and opportunities with new clients. Some of those successes include John Legend, History Channel’s King; executive production for will.i.am, Entertainment Tonight theme; as well as Man Made’s current Sonic-Agency-of-Record status with global telecom, AT&T. For further information on this appointment, contact elyse@workmanentertainment.com.

Dennis Reese has been upped to Head of Promotion for the Capitol Music Group. In his new position, Reese will oversee all promotion efforts for Capitol and Virgin, as well as providing support for the promotion efforts of Blue Note Harvest and Astralwerks. Reese has relocated to the West Coast from New York, and will now be located in Hollywood at the iconic Capitol Tower. Said Reese of his new position, “Success starts at the top. With Lucian Grange’s commitment and Steve Barnett’s vision, the Capitol Music Group is on its way to being the best in the business, and I can’t thank them enough for this opportunity to play a part in the rejuvenation of one of the most historic music labels ever.” See http://bit.ly/WEHE97.

Paul Stewart

Max Noach

Genelec Inc., the U.S. subsidiary and distributor for Genelec Active Monitors, has announced the appointment of Paul Stewart to the position of Territory Manager – East Coast. Stewart, who has been with Genelec since 2006 and previously served as Product Specialist, will assume greater sales responsibilities in the eastern U.S. as Genelec prepares for a strong 2013 with new product introductions and continued sales initiatives. The announcement was made by Lisa Kaufmann, Genelec Inc. Managing Director. A graduate of the Berklee College of Music, Stewart draws on more than 15 years of experience in professional audio sales to high-end production facilities and individual artists around the globe. Contact info@clynemedia.com.

Solid State Logic has welcomed back Max Noach to the company. In his new role as Regional Sales Manager for Latin America, Noach will oversee all day-to-day sales and support activities in Central and South America. Noach’s previous sales and engineering experiences, combined with his understanding of the region and ability to speak five languages (English, French, Dutch, Portuguese and Spanish), make him the perfect candidate for the position. Since relocating to Brazil, Noach has provided freelance sales and consultancy services to Brazilbased companies in the recording, broadcast and post-production industries. Contact vanessab@dpagan.com.

Clint Weiler

Tim Dorwart

MVD Entertainment Group, a leader in independent distribution, has appointed Clint Weiler to the position of Label Acquisitions. Weiler, a 13-year veteran of MVD, will also continue serving as Director of Publicity and Marketing. In his Label Acquisitions role, Weiler will seek to acquire new labels and vendors for distribution of their CDs, DVDs, vinyl and digital delivery. MVD currently handles distribution for hundreds of labels and vendors worldwide and is able to facilitate international partnerships. Weiler holds a Bachelor’s in Journalism and Public Relations from Kutztown University of Pennsylvania. Contact clint@mvdb2b.com.

Community Professional Loudspeakers has announced the appointment of Timothy Dorwart as CEO. Dorwart brings over 30 years of sales, manufacturing and management experience in the pro audio and music industries. In his new role, Dorwart is tasked with overseeing the company’s overall business and sales strategies, and leading Community into a new era of exceptional growth. Dorwart’s previous roles have included director and VP positions with Bose Corporation and DMX Music. Since 2007, he led the Stanton Group through a successful turnaround as their CEO. Contact gpaoli@communitypro.com for full details.

Sr. VP, Business & Legal Affairs Island Def Jam Music Group

President, Brand Partnerships Man Made Music

Territory Manager – East Coast Genelic

Label Acquisitions MVD Entertainment Group

Cinema Marketing Manager QSC

Head of Promotion Capitol Music Group

Reg. Sales Mngr., Latin America Solid State Logic

CEO Community Pro. Loudspeakers

April 2013

www.musicconnection.com

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—BARRY RUDOLPH barry@barryrudolph.com

JH AUDIO FREQPHASE JH16PRO AND JH13 IN-EAR MONITORS Jh Audio’s Freqphase™ is a new technology to take care of a very important technical detail about accurate and clear stereo sound reproduction when using multiple drivers, as in loudspeakers, or in-ear monitors. It’s phase coherency—good stereo sound depends on the simple fact that all frequencies arrive at our eardrums at the same time and in phase. JH Audio guarantees all frequencies to be within .01 of a millisecond (or 10 millionths of a second) of each other. This new technology has been first implemented into JH Audio’s JH16Pro (previously reviewed in these pages) and the JH13Pro in-ear monitors. Freqphase™ uses sculpted waveguides to channel and combine the sound from the multi-drivers to produce a phase-coherent response— especially important for sounds that are panned and mixed between 10 and 2 o’clock—the midway panned positions between center and the left or right sides in the stereo image. For more information, visit http://jhaudio.com.

MARTIN GUITAR’S NEW AUTHENTICS Martin’s new D-18 Authentic 1939 started with a CAT scan of the original 1939 D-18 in Martin Guitar’s museum. After all the internal structures and shapes including the 1939 bracing pattern are dimensionally realized, the guitar is built in the same fashion as the original using hide glue construction techniques and historically accurate detailing. The D-18 Authentic 1939 features mahogany back and sides, a solid Adirondack spruce top and period-correct “18” appointments. The D-18 Authentic is then finished in a polished gloss with aging toner on the top and body. Other details: the new D-18 Authentic has D-18 mahogany blocks/dovetail neck joint, standard X scalloped top bracing made from 5/16-inches solid spruce, mahogany back and sides, Madagascar rosewood (D-28 pattern) purfling on the back, and a mahogany neck with an Authentic 1939 barrel & heel. The fingerboard is solid black ebony and the scale length is 25.4-inches with 20 frets total (14 in the clear). Both the nut and saddle are made from fossilized ivory and the tuning machines are Waverly Nickel 4060s with butterbean knobs. The D-18 Authentic 1939 is $6,749 retail and comes with a 545V Harptone case. Left-handed models are no additional charge. Check out http://martinguitar.com/series/item/3270.html.

D’ADDARIO XL NICKEL WOUND BALANCED TENSION D’Addario’s new XL nickel wound string sets are made to have comparable tension from stringto-string. Players not ready for this might be surprised by how much easier it is to play either guitar or bass with the improved control. You’ll find playing a more balanced effort—either while fretting, bending, strumming and picking on guitar, or plucking, slapping and bending on bass. There are three size sets for electric guitar and three for bass guitar that use mathematically optimized string gauge combinations. Each balanced tension set was extensively tested with players and experts in order to ensure not only that they were balanced, yet also retained all of the inherent properties and quality expected of a D’Addario XL nickel wound set. Balanced Tension string sets for electric guitar are (listed lightest to heaviest gauge): EXL120BT (9-40 Gauge), EXL110BT (10-46 Gauge), and EXL115BT (11-50 Gauge), and three sets for electric bass including the EXL220BT (40-95 Gauge), EXL170BT (45-107 Gauge), and EXL160BT (50-120 Gauge). Retail price is $9.90 for any of the guitar sets, and the bass sets will retail for $33.10. See http://daddario.com.

STANTON SCS.4DJ COMPLETE DIGITAL DJ SYSTEM Stanton’s new version 4.0 of the SC-IX’s operating system makes it a complete, standalone digital DJ system—no laptop required. This new update means DJs can simply plug in a storage device and start mixing using the built-in decks, mixer and high-resolution color display. New features include: previewing a song directly from the song browser, add gain per channel and allow its value to be stored with each track plus now you can monitor VU level of the master outputs or decks A & B. The pitch stretching range option adds +/- 8 percent and +/- 15 percent to existing options and active playlists can be sorted by artist, BPM and time length. Lastly, for better sync and solid looping of sections, you can do beat grid editing in real time with both tap tempo or just dial-in the new tempo that is “jamming” for you and your audience. The new SC-IX Version 4.0 release and both Mac and PC versions of the QuickGrid high-speed analyzer are now available for download from the Stanton website. Visit http://stantondj.com.

10 April 2013

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DISTORTION DIRT GRIT CHUNK FUZZ OVERDRIVE GRIND…

0[ NVLZ I` THU` UHTLZ HUK JVTLZ PU THU` ÅH]VYZ >P[O ]PU[HNL WLKHSZ OV^L]LY ÄUKPUN [OH[ Z^LL[ ZWV[ PZU»[ ZV LHZ` @V\ OH]L [V KLHS ^P[O UVPZL ZPNUHS SVZZ HUK [VULZ [OH[ JHU JOHUNL ^P[O IH[[LY` SPML VY ^OLU [OPUNZ OLH[ \W VU Z[HNL :VTL VM [OVZL VSK .LYTHUP\T WV^LYLK LMMLJ[Z HYL TVYL ZLUZP[P]L [OHU H [YHPU JHY VM UP[YV ;LJO »Z HSS HUHSVN JPYJ\P[Y` \UPÄLZ YPNO[LV\Z ]PU[HNL [VULZ HUK TVKLYU KLWLUKHIPSP[` <[PSPaPUN [OL ILZ[ PUKP]PK\HSS` ZLSLJ[LK OHUK IPHZLK KPZJYLL[ JVTWVULU[Z LHJO \UP[ KLSP]LYZ H ^LHS[O VM OV[ KYP]LU [VULZ ( WV^LYM\S )VVZ[ M\UJ[PVU RPJRZ PU \W [V K) VM JSLHU IVVZ[ ^OPJO JHU IL \ZLK PUKLWLUKLU[S` MYVT [OL LMMLJ[ 0[ PZ H [Y\L WVZ[ IVVZ[ [V W\UJO \W [OL ]VS\TL VM [OL [VUL `V\ KPHSLK PU UV[ [V ZPTWS` ZTV[OLY P[ PU L_JLZZ KPZ[VY[PVU .P]L `V\Y WLKHSIVHYK H IVVZ[ ^P[O ZVTL [HZ[` ]PU[HNL KPZ[VY[PVU KPY[ NYP[ JO\UR M\aa V]LYKYP]L NYPUK

BOOST DISTORTION

BOOST OVERDRIVE

BOOST FUZZ

BOOST BASS FUZZ

Hey, remember the ‘80s? A lot of bad clothes perhaps but some way-cool, aggressive distortions. Tight, muscular grind with buzz-saw harmonics never went out of fashion and the Boost Distortion delivers that fast punchy tone. It features its own unique SAG control that adds an expressive,tube-like response to every pick stroke.

Putting an overdrive pedal in front of a hard-pushed amp has been the secret weapon for generations of guitarists wanting to punch up the midrange and add sustain. The Boost Overdrive is packed with voluminous amounts of screamin’ tone. Just hit the Boost switch to go bigger and badder. The unique SPARKLE control adds upper harmonics for an open, snappy sound.

Vintage pedal hounds know that germanium fuzz sounds are way sweeter than silicon fuzz…but only when the temperature is just right and doesn’t spike. The Boost Fuzz solves that problem by nailing that creamy germanium tone, consistently all night long. This SAG control allows notes to bloom and sing at your command, for dynamic, organic performances.

When you need a huge, 360-degree, room-filling bass tone, step up to the Bass Boost Fuzz. Get the fat, gritty sounds of the ‘60s fuzz bass and put some musical rage in your low-end. When you need more focus and edge, dial in the +CLEAN control to add just the right amount of direct tone to your mix.

Designed and Manufactured in the U.S.A.

Aprilwww.tech21nyc.com 2013 www.musicconnection.com

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— BARRY RUDOLPH barry@barryrudolph.com

CAD AUDIO GXL DUAL WIRELESS SYSTEMS CAD Audio’s value-oriented GXL Series of studio microphones, headphones and accessories now has two new wireless systems: the GXL-V VHF (185.8 to 213.4MHz) and the GXL-U UHF (543.1 to 593.5MHz). These are transmitter/receiver bundles with a choice of either a handheld microphone or body pack transmitters supplied with a guitar cable and a head worn condenser boom mic. Both the GXL-V VHF and the GXL-U UHF systems each have dual receivers inside side-by-side so that two transmitters’ signals can be receiver simultaneously. One transmitter might be the handheld microphone and the other a body pack transmitter for guitar or head-worn boom mic. The receivers have green indicator LEDs that show solid radio signal strength and good and clear audio signals—yes or no. The receivers also have convenient volume controls for setting proper audio level to your mixer, PA system or musical instrument amp if you’re using the body-pack transmitter for guitar or bass. I like that the receivers have both professional XLR and 1/4inch discrete outputs for each channel plus another XLR jack for a mix of the two channels’ audio streams together. I just love the affordable price point of these systems. CAD Audio’s GXL-V VHF wireless is $129 MSRP and the CAD Audio GXL-U UHF wireless is $209 MSRP. For much more about these new wireless systems and the entire CAD Audio lineup, check out http://cadaudio.com.

GOBY LABS GBU-300 UNIVERSAL GUITAR STAND To call it just a “guitar stand” would be unfair to the design and utility of this great new product. The GBU-300 Universal Guitar Stand ($65.95 MSRP) is universal because both the base’s width and the height of the head stock cradle are fully adjustable. That means the GBU-300 will support and protect any instrument from all acoustics—great and small, electric guitars, baritones, mandolins, even large six-string electric bass guitars. Like the Goby Labs well-designed microphone stands, the GBU-300 Universal Guitar Stand features all-black, powder-coated die-cast metal components and very few non-metal parts. With this transforming guitar stand, you can lock-in a wide stance for the tripod legs to insure maximum stability and know the body supports’ molded rubber covering won’t scratch instrument bodies and necks. These rubberized supports are large loops that become carrying handles when the stand is collapsed and readied for travel. The GBU-300 Universal Guitar Stand has a lock-open/spring-closed mechanism that provides instant access when switching guitars during live stage performances. The ratchet mechanism locks the clasp open and out of the way for immediate access or lock it down for full security during storage. Another winning design, the Goby Labs GBU-300 Universal Guitar Stand sells for $65.95 MSRP and is exclusively distributed by Hosa Technology, Inc. Check out http://gobylabs.com.

WICKED AUDIO SOLUS HEADPHONES The Wicked Audio Solus headphones’ appearance fits right into the trendy style of the DJ/Dance/Rave crowd and are built to as sound good as they look. Visually stunning, they come in matte-black with red logos on the L/R ear cups and a matching red, soft headband cushion. The thick, braided cord is brilliant red and looks like it’s made from ballistic nylon or Kevlar™. For extra ruggedness, it is firmly anchored in the right ear cup. The Solus headphones are a solid-working tool and come with an inline volume control and DJ switch module located about halfway down the 4-ft. cord. The DJ switch is for toggling between stereo and mono playback so both sides have the same sound for cueing using either ear. Both ear cups swivel out of the way easily and, while doing this, the phones still feel comfortable on my head. These phones are made for clubbing; they are lightweight, comfortable to wear for long hours, have plenty of low frequencies and are capable of extreme volume levels. They have large, low impedance (32-ohm) 40-mm Neodymium drivers and come with a 6-ft. extension cord and 1/4-inch gold-plated adapter. Wicked Audio Solus Headphones sell for $100 MSRP. For more about them, check out http://wickedaudio.com.

ALLEN & HEATH ICE-16 INTERFACE/CAPTURE Allen & Heath has introduced a brand new product, the ICE-16. The ICE-16 is dual-purpose: it is a 16-channel In/Out Firewire 400/USB 2.0 audio interface for you computer’s DAW and it also works standalone, capturing high quality multitrack recordings directly to a fast, USB thumb drive. A 1-rack space unit, the ICE-16 records and playbacks 16-channels at up to 24-bit, 96kHz resolution. Alternately in standalone mode, 16-channels of audio, at up to 48-kHz/24-bit can be simultaneously recorded straight to a USB hard drive or memory stick/thumb drive. The ICE-16 is expandable with several units linkable for recording many channels. Allen & Heath’s ICE-16 connects to any audio mixer or analog source using 1/4-inch input jacks and RCA output jacks. Signal present and peak LEDs are provided for each channel showing either input or output. There is assignable headphone monitoring and ASIO drivers and Core Audio support for MAC and PC DAWs running Logic, Sonar, Cubase and Pro Tools. Suggested MAP is $999. Learn more at http://allen-heath.com.

BARRY RUDOLPH is a recording engineer/mixer with over 30 gold and platinum RIAA awards to his credit. He has recorded and/or mixed: Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and Robbie Nevil. Barry has his own futuristic music mixing facility and also teaches recording engineering at Musician’s Institute, Hollywood, CA. http://www.barryrudolph.com

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BOOK S T ORE

For the Coffee Table... Green Day:

The Ultimate Unauthorized History By Alan di Perna (hardcover) $35.00 Lauded for bringing punk rock to the masses, Green Day’s remarkable rise from teenage garage band to multiplatinum artists is documented here for the first time to coincide with the band’s 25th anniversary. Di Perna’s revealing text is accompanied by more than 300 visuals, including concert and candid off-stage photography, gig posters and handbills, 7-inch picture sleeves, rare vinyl, backstage passes, and more, all presented in a stunningly designed package.

Kalamazoo Gals By John Thomas (paperback) $21.95 The author discovers that, during World War II, Gibson employed a nearly all-female workforce to build thousands of guitars, each marked with a golden “banner.” Tracking down a dozen of the women, he time travels with them through the Great Depression and into WWII. He also wanders the abandoned Gibson factory in Kalamazoo, steps into an imaging clinic to seek radiographic evidence of the sublime quality of the Gals’ craft, and tracks the “Banner” Gibsons from the factory into the hands of their first owners. Along the way we’re led straight into the hearts of the Kalamazoo Gals.

The Fender Telecaster:

The Life & Times of the Electric Guitar that Changed the World By Dave Hunter (hardcover) $40.00 It’s the 60th Anniversary of the Fender Telecaster and this new book is the first, detailed history of one of the true icons of guitars and the music world. The book tell how the Tele became the ultimate blue-collar guitar, with the complete history from development, through the CBS years, to present day Artist Series models and other variations. The book is also chock-full of beautiful photography, period advertisements, great quotes, album covers, diagrams and more. 14 April 2013

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The Fender Stratocaster Handbook 2nd Edition:

How to Buy, Maintain, Set Up, Troubleshoot and Modify Your Strat By Paul Balmer (hardcover) $27.00 Fender’s Stratocaster is THE ICON of the guitar world. It’s not just a manufacturer’s hype that this is the most popular guitar of all time. Introduced in 1954 and thus now more than 50 years old and counting, Fender’s electric Stratocaster not only revolutionized guitars but also popular music. Strats can be modified and customized in a myriad of ways. This book will explain how to do it all yourself. And like a car manual, even if you don’t do the work, it’ll be ideal for dreamers or people who want to talk the talk.

Musician’s Notebook: For Lecture and Notation

By Brian W. O’Keefe (softcover) $15.00 As a former student, the author found it challenging to keep musical notations, comments and lecture notes orderly and accessible. So he created a notebook that stores everything in one binder. Divided into four sections and three formats, it provides areas for notes and analysis as well as assignments and compositions. Complete with staff/manuscript paper, it enables note taking on the same page and has perforated edges for assignments. It is available at http:// lakeyboardproject.com.

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Fame Wizard By Jonathan Widran

S

uccess as an independent artist in the contemporary, digital distribution driven music industry requires strong business acumen and entrepreneurial skills like never before. Few are as familiar with the shifts in the landscape– and the best strategies for success in the current DIY artist dominated realm–than the Fame Wizard team backed by former major label executives, Grammy winning artists and music biz legends. Founded in 2010 as an artist platform with a strong educational development focus, Fame Wizard (http://famewiz.com) has evolved into a dynamic Artist Development Company dedicated to growing the careers of musicians through a strategic program that includes one-on-one coaching as well as insightful lessons and webinars that teach musicians how to achieve success as an indie artist. Dedicated to demystifying the modern music business, the organization also offers exclusive opportunities to expose their members’ music to new fans and influential professionals within the industry. A powerful (and self-empowering) response to the new music business paradigm, Fame Wizard was founded on the simple premise of guiding and developing artists who are serious about their music toward a pathway for success. The site includes a comprehensive educational curriculum, catalog of courses, lessons and webinars—but the key element is building a positive/productive working relationship with a Fame Wizard Coach. Fame Wizard’s COO Tony Delmercado likens the presence of the coach in the musicians’ life to “working with a trainer rather than just having a gym membership.” Each artist consistently works with his or her coach, who acts as a guide, career strategist, mentor, accountability partner and friend throughout their Fame Wizard experience. These Coaches—many of whom are successful musicians with vast industry experience and degrees—also administer the curriculum, guiding artists through educational topics relevant to today’s indie music marketplace. The courses are concise, interactive and serve as a starting point for many deeper and profoundly more impactful discussions when applied to the individual artist’s needs. The catalog of courses, lessons, webinars and interviews are available online 24/7 allowing the individual artist to customize when and how deeply they want to review the content. Each course listed on the site opens to a number of specific multimedia lessons (four to 10) featuring written information, video, audio and external links. The courses include Performing Rights Organizations and Other Key Organizations; Copyrighting and Legal Protection; Getting Radio Airplay; Getting Your Music Reviewed; Marketing and Promotion; Distribution; Branding; Using Social Networking to Engage and Grow Your Fan Base; Networking and Professional Development; Getting Press; Financial Responsibility and Fundraising; Booking Gigs; Scheduling and Planning Tours; Building a Professional Team – Including Developing and Guiding a “Street Team”; Landing Licensing Opportunities; Selling (and Giving Away) Your Music; and How and When to Get Professional Recordings. “Rather than just another distance learning company streaming tons of information,” says Delmercado, “we’ve created a regimented, customized path, or funnel, that is geared towards serious and ambitious artists whose entry point is any level of the business. We’ll work with someone who has never done a gig, released a CD or created a copyright differently than we approach a client who is already touring regionally or has a notable discography. “We strongly believe that there has never been a better time to be a DIY musician,” he adds, “but of course there is also more competition because the barriers are lower. One of the biggest problems we notice is the vast amount of misinformation that exists among up-and-coming indie artists. While consumers have adapted to the digital revolution, musicians sometimes still think if they get their music to one key person, that person can make their career happen. But being an indie artist now is more like being an entrepreneur and major label deals are not a predominant force. Our mission is servicing indie artists and helping them gain meaningful exposure to rise above the noise.” Fame Wizard’s membership application is in-depth by design, in line with the organization’s desire to work not only with talented musicians with great career potential, but those serious and dedicated to the hard work that lies ahead. “Seriousness of purpose is a must,” says Delmercado. “That’s as important an element to success as anything else.” Contact Fame Wizard, http://famewiz.com

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Kat Von D, deadmau5 Build Speakers At SXSW Kat Von D and deadmau5 toured the Sonos Studio at SXSW and experienced the Sonos PLAYGROUND interactive audio-visual exhibition, built their own speakers out of everyday materials, and played video games with fans while deadmau5 played his favorite music throughout the venue. Pictured is the duo showing off their custom-built speaker. For more SXSW coverage, see our two-page spread on pages 46-47. You can also see extensive video coverage at http://youtube.com/musicconnectionmag.

Enter the Haggis Track With Telefunken Since their birth in 1996, Toronto’s Enter the Haggis have kept a rigorous recording and touring schedule, playing across Canada, Europe and the United States. The band are currently in the studio, teaming up with producer-engineer Zach McNees. Pictured is Enter the Haggis lead singer Brian Buchanan with a Telefunken U47 featuring the “Copperhead” finish from the company’s Custom Shop. Progressive metallers the Safety Fire have entered London’s The Dairy studio to record their sophomore album and follow-up to their critically acclaimed debut, Grind The Ocean. This currently untitled release will be produced again by the band’s guitarist Derya “Dez” Nagle, who previously worked with Frank Turner (Mongol Horde), Rise to Remain and the Haarp Machine. Head over to http://facebook.com/thesafetyfire for complete details.

Village Recorder Boasts Argosy Boards In addition to offering four commercial rooms with vintage and modern equipment available, The Village Recorder—in Hollywood, CA—has long supported independent producers and songwriters by providing private production facilities on the complex’s upper floors. Two creative artists currently in residence are GRAMMY-winning engineer, producer, musician and songwriter John Alagia (pictured) and GRAMMY-winning engineer, producer, studio designer and author Ken Caillat, who both maintain studios based around workstations from Argosy Console, Inc. For more Argosy updates, visit http://argosyconsole.com.

Columbus, OH metalcore act Like Moths To Flames (LMTF) are currently in the studio, working on their next LP. For the upcoming release, LMTF reunites with When We Don’t Exist producer Will Putney (Upon A Burning Body “Red, White, Green”; Miss May I “At Heart”; The Amity Affliction “Chasing Ghosts”). The album is tentatively scheduled for a July release.

Producer Playback

In the back of the mind of every engineer I’ve met, they feel like they don’t really know what they’re doing. Everybody has this nagging doubt that they’re a fraud. You have to get comfortable with that feeling; that you’re not really in control. — Steve Albini 18 April 2013

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Like Moths to Flames will be headlining the 2013 edition of the Rise Records Tour, which also features support from Crown The Empire, the Color Morale, Palisades and My Ticket Home. For tour dates, visit http://facebook. com/likemoths. The Oscar winning score of Life of Pi was captured for audiences using AEA’s R88 stereo ribbon microphone. Los Angeles-based engineer Brad Haehnel recorded and mixed the soundtrack for the movie, which recently garnered four Academy Awards including Best Original Score for Mychael Danna. The AEA R88 faithfully reproduced the sound of the horn section while vintage RCA 44 ribbon microphones were used as spot mics during the sessions at the Fox scoring stage. Read how the entire score came together at http://ribbonmics.com.

—ANDY MESECHER andym@musicconnection.com

Seattle Studio Unleashes An Analog SSL Console Hideaway Studio Upgrades To ATC

DAVID GOGGIN

The Hideaway Studio owner-founder Joseph Mabbott and singer-lyricist Marianne Dissard used Control Room A’s new pair of ATC SCM25A Pro monitors for listening back to tracks on Dissard’s upcoming album, The Cat Not Me. The record is expected to release May 20, 2013 through music label Tucson Music Factory. Get Hideaway’s full gear listing at http://thehide awaympls.com/gear.

Rogue Island Entertainment is setting the stage for film and videogame audio projects with a Solid State Logic Duality SE console in its newly rebuilt Studio A. Carrying on SSL’s sonic legacy and industry standard user interface, Duality provides Rogue Island with the fully integrated 5.1 surround capabilities and DAW control necessary to address the needs of modern production workflow. The advent of Duality in the Seattle media scene is expected to attract a wide client base to this prestigious production studio. Visit http://rogueisland.com/studio.html.

Dawes Tracks With King In Asheville, NC Dawes will release Stories Don’t End on April 9th through their own label in conjunction with their management company, Q Prime, after leaving ATO Records last year. Tracked in five weeks last September in Asheville, NC, Music Connection Ad Proof Stories Ad Rep:Don’t HR End features clean production from King (Tom Waits, Norah Jones), helped the band break out of its vintage mold, though they Code: who hunter 4th-horiz #2-2013 don’t completely strip away that Laurel Canyon sound. See our video interview with the boys at SXSW: http://youtube.com/musicconnectionmag.

Neve Stops Into Pensado’s Place At Vintage King Industry icon and renowned audio electronics inventor-designer Rupert Neve made a guest appearance at Vintage King Audio’s new Los Angeles showroom and studios to make an appearance on a special location edition of Pensado’s Place, the popular weekly webshow hosted by top mixing engineer Dave Pensado. Pictured center at VKLA are Rupert Neve and his wife Evelyn, with Dave Pensado (center) and enthusiastic fans Geoff Emerick, Lenise Bent, Will-Dog of Ozomatli, and others who met with the innovative electronics designer and his award-winning team.

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PRODUCER CROSSTALK

RYAN HADLOCK Seattle-based Lumineers Producer

By Rob Putnam

A

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s a child, producer Ryan Hadlock helped his parents build Bear Creek Studio in Woodinville outside of Seattle, WA. Since its launch, artists including Foo Fighters, Modest Mouse and Soundgarden have worked there. He’s recorded with the Gossip, Johnny Flynn and the Lumineers. Notably, he produced the Lumineers’ self-titled, Grammy-nominated album, which was certified Platinum on the day Music Connection spoke with him. The single “Ho Hey� also sat atop several charts. Hadlock views one of the most important parts of his job as uncovering and developing acts. “Most of what I’ve worked on have been projects that I’ve taken from an unknown level, helped bring them forward and make something great,� he explains. “I’m always looking for somebody who nobody knows about. I can help an artist get to the point where they can follow their art as long as they want to. That’s a good way to keep excited The three most important about the job.� things he’s learned as a For the past 10 years, Hadlock has attended South by Southwest. producer are: Sometimes he finds the undiscovered band that he’s looking for. He recalls a story from a recent attendance. “I hadn’t s #ONNECTING WITH THE INDIvidual in the song is key. found anybody that had knocked my socks off,� he recollects. “I went to the s %VERY OPINION IS A VALID ONE

Seattle party, where I’d know people whether you use it or not. Some and wouldn’t have to sell myself. I ran of the best things happen by into a friend named Christen Greene. having an open relationship. He gave me the Lumineers’ demo and asked me to check them out; he thought s 3TAY ON SCHEDULE we’d be a good fit. When I listened to their CD, I knew I wanted to work with them. “The demos were rustic,â€? the producer continues. “They were recorded on a home computer. The band came out to Seattle and played one of the strangest shows I’ve ever been to—it was some kind of plant swap or organic compost sale—on a tiny stage.â€? Obviously the relationship has developed beyond all expectations. Not surprisingly, since The Lumineers received its Grammy nomination, Hadlock has become busier. “I’ve had a lot more meetings with top record people,â€? he says. “I don’t know if the nomination had anything to do with it. I’m finding that these people knew who I was and they knew my track record. The nomination is just one more thing in the long list of projects. It’s making A&R people think that this isn’t a one-time thing. And it’s much easier to get meetings with the management of artists that I like.â€? His go-to piece of gear is the Roland Space Echo. As he explains, “I brought my guitar and Space Echo to Greg Dulli’s house [Afghan Whigs] and we did a song together. He said, ‘I want that on everything I do.’ It’s something that I still use on everything. In the world of digital precision, having an element of randomness is important. “I also tend to use the room more than most people. I do a lot of distant miking. I didn’t realize this until I went to Abbey Road. The session engineer who’d been there for 10 years told me that he liked the way I used the room when recording. You can hear that all over the Lumineers’ record with the depth of field. That’s something you can’t get out of a digital reverb.â€? Bear Creek is a residential studio with 32-foot ceilings situated in a barn on a 10-acre farm. Hadlock’s upcoming projects include work with Warner Bros.-signed songwriter L.P. and 17-year-old artist RomĂŠo Testa. His production philosophy is a forward-looking one. “The most important project is always the next one, never the last,â€? he asserts. Contact Jake Livingston / Primary Wave Music (manager), jlivingston@primarywavemusic.com; Anne Watkins (publicist), awatkins@primarywavemusic.com; http://bearcreekstudio.com

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—ANDY —AndyKAUFMANN Kaufmann

Adam Rabinovitz

launched. The founders of the company also founded Skype, so a lot of the lessons they learned during that experience have applied to this product. It’s about the ability to push music discovery in a way that the consumer benefits and is comfortable with. We have been a leader from day one on these innovations.

Director of Artist Relations, Rdio

Years with Company: Less than one year Web: http://rdio.com/artistprogram E-mail: artistprogram@rdio.com Clients: Bad Religion, Jim James (My Morning Jacket), Snoop Dogg (aka Snoop Lion), Questlove (the Roots), Brendan Benson (Raconteurs), of Montreal, Scissor Sisters, Aaron Gillespie (Underoath), Chromeo, Y La Bamba, Ra Ra Riot, The Hush Sound, Best Coast BACKGROUND: If streaming services are the future of music consumption, Rdio (pronounced ARGH-dee-oh) is poised to lead the pack. Offering a one-week complimentary trial in the US, the subscription program entices listeners with an unlimited buffet of ad-free, full-length albums they can access via PC, Android, Blackberry, Nook or iPad. Adam Rabinovitz was hired last October to help content creators jump aboard. From Physical Stores to Digital Realms: I started as a record store clerk on Martha’s Vineyard. From there, I became a music director at a radio station, WEOS, in upstate New York and then a radio promoter in Boston at Planetary Group. I was there for two-and-a-half to three years and then got into digital distribution, the first incarnation [of which was] emusic.com. I then went into artist management and music marketing in New York. Following that, I had an eight-year stint at a company called IODA in San Francisco, which was the biggest global distributor of music and film. New Opportunity: Rdio officially launched in early August of 2010. That’s when they came out of beta, so they were approximately two years out before I came on board. They found me, but I’m an active user and knew some of the people over here. This is one of the more exciting opportunities I’ve seen. Perfect Fit: [What made me a good fit was] my knowledge of the music space and having been in digital distribution before and post-Napster. During my time at IODA, I was heading the client relations team and working with a number of artists and record labels around the world, knowing what their needs are and what their questions were, even before streaming and services like Rdio were in the marketplace. Managing a team and the ability to work with all the different products out there was a great window to where the industry was going. I know a lot of artists and it’s about the ability to work with and talk to artists on their terms about these new opportunities. Direct to Artists: I interface with the management community and artists directly, integrating the product we launched into the day-to-day efforts of artists. I’m really focusing on building bridges with the artist / management community. It’s as much direct to artist managers as it is to artists. Getting On Board: Artists should visit http://rdio.com/artistprogram, which includes information both on the program and how to sign up. The only requirements are that they actively use Rdio and have music available on the service. The application process takes less than five minutes; it’s easy and artistfriendly. Upon sign-up, we provide information on how to use the program, with examples of 22 April 2013

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“Artists are using this program to have a new type of conversation with their fans.” other artists and what they’re doing. We have a monthly newsletter we share in-site and do educational exercises around what successes have occurred. Get Paid Directly: We have deals with all the major labels and all the independent companies, as well as aggregators, so there are a lot of paths to getting your music on the service. The fee associated with the program is $10 per subscriber. And the artist program does not in any way affect the existing payment structures with labels and publishers. This is a direct-to-artist payment and we are the only service that has a direct-to-artist function as far as the payment scheme is concerned. Revenue Enhancement: [Rdio is] a complementary opportunity that’s a way to supplement existing revenue streams. It’s difficult to make a living as a musician and we believe artists deserve to be paid, so we’ve created this opportunity to create revenue based on doing what they do naturally—connecting with their fans. Sharing: Our artist profiles display what artists are listening to, the music they’re sharing, the playlists they’re making. It’s about curating a collection. It’s about socially sharing that collection through email, Facebook or Twitter. It’s a unique product that allows the user to curate and not just make playlists. It’s important to acknowledge that it’s also about an album collection and having an ability to share that. The Rdio Difference: We’re a music discovery opportunity as much as a music service. We have changed the way consumers are able to discover music and the way they’re able to share music. Rdio has been a leader in this space since the moment we

World Party: This is a global company. We’re live in 17 territories around the world, including Australia, the UK, Germany and France. And I anticipate a lot of growth in Europe, Asia and potentially South America soon. When you look at the concept of music discovery and open that up on a global scale, that’s exciting. Every day, we’re seeing the results of people discovering music from regions they wouldn’t have had access to five or 10 years ago. You walk into a record store and it’s got a limited amount of shelf. That doesn’t apply in this case. It’s more about how much time you have to consume and who’s your guide.

Share Anything: One of the exciting aspects of this program is that the sharing of music via Rdio and the artist program is not limited to the artist’s music. Whether it’s Brett Gurewitz of Bad Religion and Epitaph Records talking via his artist program links about people’s favorite Ramones records or posting that he loves a specific Van Morrison record on a certain day of the week is as exciting as promoting the new Bad Religion record. Artists are using this program to have a new type of conversation with their fans and a new way to engage people. Critical Mass: We’re in a place now where the average consumer, as well as the music industry, understands the value proposition of streaming. It’s about how you use it intelligently and how you differentiate yourself. And via this program we’re able to offer that opportunity, both to big and small artists. There were misconceptions about the value proposition around streaming, but I think we’ve moved past that. There was a point where labels were afraid of iTunes and eMusic and look where we are now. Follow Me: We also have an influencer program, where we’ve got brands, athletes and celebrities. The value proposition becomes––who do I want to follow? If you don’t follow anyone on Twitter, it’s a relatively useless product. I can wake up and look at what my friend in Boston is listening to. It drives my behavior at something I might not have thought about otherwise. Standing Behind Artists: Artists need to get paid in order to keep making music. Rdio, as a company, is committed to that. The program we’ve launched is a testament to that. I hope to see more of that coming from the industry as a whole. And I’m proud to be at a company that sees it that way.

—BERNARD BAUR

M

usic 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

CD Baby has introduced a new concept in music promotion: Download Wristbands. The new product, a wristband with an adhesive strip that includes a code to download an artist’s music, reimagines the more traditional music download card. While music download cards are usually sold or given away at a merch table, the Download Wristband presents additional opportunities. It can be bundled with concert ticket sales and distributed to attendees upon entering a venue. See http://mem bers.cd baby.com/music-down load-cards.aspx#wristbands. Slacker is taking the show on the road. Literally. At South By Southwest, Slacker unveiled a custom 75-foot touring rig, complete with a concert stage, product demo stations and a luxury VIP lounge. The rig will travel the country with stops at top

music festivals, sporting events, and entertainment destinations where Slacker will host exclusive concerts, parties and artist showcases. You can follow the tour’s progress and schedule at http:// tour.slacker.com. The Slacker 2013 Tour will make dozens of stops—from Beale Street Music Festival to Country Jam Colorado—with on-site demos of the new Slacker digital music service, exclusive performances, one-of-a-kind promotions, parties, mobile charging stations, games, giveaways and more. For regular updates, follow Slacker at http://twitter.com/slack erradio. Whotune, a promotion and discovery channel for independent artists, has launched the beta version of the Rockstar Rising Facebook game. Rockstar Rising weaves together artist discovery with social gaming through interactive gameplay chronicling an act’s journey to fame. Throughout the game, independent artists’ music is featured, which gamers must learn to level up. Independent artists can submit their music to the Rockstar Rising game by creating an artist profile at http://whotune.com and entering the Rockstar Rising competition by checking the appropriate box. All songs submitted will be considered for future versions of the game. Visit http://apps.face book.com/rockstarrising. Strictly Rolling Music Promotion and Management is on a mission to discover and promote new music talent from around the globe. Whether you make the heaviest of rock, the funkiest of groove or the most

ART OF SHOCK NAMED WARPED TOUR’S BBQ BAND Every year, it has been tradition for Vans Warped Tour founder and producer Kevin Lyman to personally handpick an up-and-coming, independent act to be the official BBQ Band for the tour. The BBQ Band is given a slot on the Ernie Ball stage in trade for serving delicious food consumed at each post-show BBQ. Many bands have made their start as a Vans Warped Tour BBQ Band, including Dropkick Murphys, Longway and others. This year, Hollywood, CA’s Art of Shock has been chosen for the prestigious honor. Lyman states, “I’m glad to have Art of Shock out on the grill and on stage this year!” To find out more, about this unusual act, go to http://shockonline.com or http://facebook.com/artofshockofficial.

MOSES MUSIC INKS DEAL WITH TOTT ENTERTAINMENT Sean Johnson, a recent grad of the Musicians Institute’s Music Entrepreneur Business Program, launched his own entertainment company and label called TOTT Entertainment. His first signing, Moses Music, is a popular hip-hop artist from Oakland, CA. Moses is a multi-talented songwriter and rapper who originally debuted as “Young Moses” on many urban recordings over the years. Moses’ popularity will soar even further this month when he appears on the Oxygen Network’s reality series Bad Girls Club: Atlanta. TOTT plans to release mix tapes (for the ladies) while recording a full-length album of fresh songs. Pictured (l-r): Moses and Sean Johnson. To find out more, go to http://iamtott.com. slamming dance tracks, only one thing matters… it has to be hot and it has to be unsigned. The company’s aim is to help new acts get exposure and ultimately to make money from what they love doing best, making music. To learn more contact Carl Mills at info@strictlyrolling.com.

their 47-city North American Summer tour with NKOTB and Boyz II Men which will kick off on May 28 at Mohegan Sun in Connecticut and wrap Aug. 4 at the Bankers Life Fieldhouse in Indiana. Limited tickets for all shows are on sale now. You can find the latest dish at http://98degrees.com.

LABELS s RELEASES s SIGNINGS

Best Revenge Records has confirmed the April 30 release of former Maverick and CBS Records recording artist Keaton Simons’ new sophomore full-length Beautiful Pain. Coproduced with Mikal Blue (Colbie Caillat, One Republic) and mastered by Gavin Lurssen, the record will be distributed through ADA Distribution (Warner Music Group). The album includes co-writes with friends and peers Jason Mraz, Jason Reeves, Glen Phillips (Toad the Wet Sprocket) and Mikal Blue among others. Check out http://facebook. com/keatonsimonsmusic.

Better 40 years later than never… The follow-up to the first record ever to bear the Iggy and the Stooges logo—the immortal proto-punk masterpiece Raw Power—will finally be out April 30, when Fat Possum Records releases the all-new Iggy and the Stooges studio album, Ready To Die. The record finds guitarist James Williamson and drummer Scott “Rock Action” Asheton reunited for a full album of all-new material for the first time since the legendary Raw Power sessions, with Mike Watt filling in for the late Ron Asheton on bass. Iggy explains, “My motivation in making a record with the group at this point is no longer personal. It’s just a pig-headed fucking thing I have that a real fucking group should make fucking records—even when they’re older. They don’t just go and twiddle around on stage to make a bunch of fucking money...” You can go to http://iggy andthestoogesmusic.com for additional news. Grammy nominated, multi-Platinum selling boy band 98 Degrees have announced plans to release their first studio album in over 10 years. Featuring Nick Lachey, Drew Lachey, Justin Jeffre and Jeff Timmons, the new album, 2.0, will drop May 7 via eOne Music. The band is also gearing up for The Package Tour April 2013

OH alt-rock veterans Hawthorne Heights have signed with the Sony / RED distributed Red River Entertainment and are currently recording their new LP with producer Brian Virtue (30 Seconds To Mars, Chevelle, Audioslave), which will be released this summer, in conjunction with the band’s return to the Vans Warped Tour for the first time in six years. Together since 2001, Hawthorne Heights achieved major success, with their first two LP’s (2004’s The Silence in Black and White and 2006’s If Only You Were Lonely) reaching Gold certification. Tom Petty and the Heartbreakers will play shows throughout North America this summer, including headline appearances at major festivals, arenas and amphitheaters, plus multi-show resiwww.musicconnection.com 23

— BERNARD BAUR dencies at the intimate Beacon Theatre in New York City and The Fonda Theatre in Los Angeles. Festival stops include headline appearances at the Bonnaroo Music and Arts Festival, The Hangout Music Festival and Firefly Music Festival. The very special New York and Los Angeles residencies are composed of five concerts in New York six concerts in Los Angeles. Ticket Packages, which include premium seating and exclusive band merchandise, will be available for all concerts. For more information, visit http:// tompetty.com. Indie rocker Eric Slater (profiled in the March issue of Music Connection) has released his newest single, “Dead Men.” The track is an introspective, triumphant, yet darkly bleak rock waltz that plays on mortality for its theme. It is the first published single for Slater as a solo artist since his 2007 LP release, Redemption & Disorder. To check it out, go to http://ericslater.com.

PROPS

Glitter Rose was a two-time winner at the 2013 Artists In Music Awards held at the Key Club in Hollywood, CA. She took home “Best Rock Artist” and “Album of the Year” honors for her 2012 release Dead or Alive. Rose also performed at the event for a crowd of over 1,000 attendees. To learn more about Glitter Rose, go to http://glitterrose.com. If interested in submitting material for upcoming AIM Awards shows, you can obtain details at http:// aimusicawards.com. The L.A. Gay & Lesbian Center announced that rock legend Ozzy Osborne, Grammy-nominated Natasha Bedingfield and

singer-songwriter Sia will perform at this year’s “An Evening with Women” on May 18 at the Beverly Hilton Hotel. Two-time Emmy winner and five-time Grammy nominee Kathy Griffin will host the night’s festivities. With the help of co-chairs Annie Goto, Kelly Lynch, Shannon Del and Brent Bolthouse, last year’s benefit raised more than $450,000 for the Center, which provides food and shelter for homeless youth, services for seniors, legal assistance, domestic violence services, mental health services and cultural arts programs. Visit http://anevening withwomen.org to purchase tickets for the event. Republic Records sponsored the “Music For Newtown” auction. Numerous artists donated special limited-edition items to the cause, and all proceeds benefited the “Sandy Hook School Support Fund,” which supports the long-term recovery needs of the Newtown community. Items included two tickets to see Tim McGraw, autographed guitars from the Eagles and 3 Doors Down, signed Jack Johnson vinyl, signed Colbie Caillat songbooks, CDs, a comic book, and more from Of Monsters and Men, fun., Jewel, Five For Fighting, Owl City, and Big Bad Voodoo Daddy. To help the cause, go to http://musicfornewtown.org. The Lumineers’ debut album has gone Platinum. Following their performance at the Grammys this year, they sold over 66 thousand copies of their Grammynominated album. Since its release last April via Dualtone, the Denver-based band sold over 1 million total records. They are preparing to hit the road in the US

DIY Spotlight:

Macklemore

HIP-HOP RAPPER Macklemore has been releasing music independently since 2000, and has gained a significant fanbase. He has released mixtapes, three EPs and two albums without record label support. His music video “Thrift Shop” has been viewed on YouTube more than 130 million times, and reached No. 1 on the Billboard Hot 100 chart after selling more than 2.2 million copies. He released his debut studio album The Heist on Oct. 9, 2012, which charted at No. 2 on the US Billboard 200 chart, selling 78,000 copies in the first week. How did this indie artist achieve such success? Easy… through sheer DIY ambition. In 2000 he recorded an EP titled Open Your Eyes under the name Professor Macklemore, which he distributed himself. He then dropped “Professor” and released his first official full-length album, The Language of My World in

THE BIZ

DUST: RESURRECTED AND REISSUED

24 April 2013

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To learn more about this phenomenon, check out http://macklemore.com

Have a successful DIY strategy to share? Email bbatmc@aol.com. this spring. For further information, including tour itinerary, visit http:// thelumineers.com.

New York-based Dust were one of the first “proto metal” bands to crank their amps to 11 and let it rip. Now the group’s seminal albums, 1971’s selftitled debut and 1972’s Hard Attack, are being reissued as a single CD and double vinyl (numbered for collectors) via Sony/Legacy. Featuring a stellar line-up, Dust included drummer Marc Bell (later christened Marky Ramone, of the Ramones), bassist Kenny Aaronson (who played with everyone from Bob Dylan to Joan Jett), singer-guitarist Richie Wise, and lyricist-producer Kenny Kerner—both of whom would form a production team and produce Kiss’ first two albums. You can catch up with Dust at http://dustnyc.com or contact APFmanagement@yahoo.com.

2005. In 2009, he dropped The Unplanned Mixtape. In 2010, he teamed up with producer Ryan Lewis to create the VS. Redux EP, using his experience with substance abuse to create the mixtape’s critically acclaimed song “Otherside.” Since then, Macklemore has been picked up by The Agency Group, an international booking company that added him to unrelenting tours. In 2012, Macklemore and Lewis announced their debut fulllength album and a world tour to support it. The album reached the No. 1 position on the US iTunes Albums chart within hours. Raves from music publications, such as The Source, XXL and Rolling Stone, followed… calling this artist “an indie rags-to-riches story.”

Rock & Brews announced that KISS frontman Paul Stanley is joining forces with fellow KISS co-founder Gene Simmons in his Rock & Brews restaurant venture as the company prepares for worldwide expansion. Together, they cohosted the March 22 and 23 opening of Rock & Brews in San Jose del Cabo, Mexico, the second location for the emerging brand. Rock & Brews Los Cabos is the first international location for the new entertainment and rock-themed dining concept. To get the latest, visit http://rockandbrews.com. One of the former major players in the music business is back in the game. German multinational media group Bertelsmann has purchased the remaining 51 percent of BMG (Bertelsmann Music Group) from investment group KKR, bringing the company full

circle and back into the recorded music business. This is a big deal in that the Big Three major record labels are now actually expanding to the Big Four. Who could’ve conceived that such a thing could ever happen, especially in these days of corporate consolidation? Scott Weiland had an interesting response to his termination from the Stone Temple Pilots. He replied via his PR rep: “I learned of my supposed ‘termination’ from Stone Temple Pilots by reading about it in the press. Not sure how I can be ‘terminated’ from a band that I founded, fronted and co-wrote many of its biggest hits, but that’s something for the lawyers to figure out. In the meantime, I’m looking forward to seeing all of my fans on my solo tour.” MICRO-BIO: Voted one of the “Top Music Business Journalists” in the country, Bernard Baur is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.

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

H

i Friends, It's been awhile, but I'm still here!! TAXI has been the singular catalyst for me in the past 2 years. I am closing in on 2 years of membership and my experience has been overwhelming. I will be at the Road Rally this year, as I've recently been invited to speak at the 'Successful Members' panel. This is all beyond humbling to me, and I feel indebted to Michael and his incredibly talented staff.

Taking Risks…

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

Major Publishers

So far this year I've signed 13 songs with major publishers. I'm writing with people all over the USA, and have made regular trips to Nashville a part of my routine. I've been co-writing with a guy who has had multiple (recent) #1's. It boggles my mind actually.

Once in a Lifetime Opportunity!

I'm writing Hip Hop tracks for a well known rapper's next project, and I'm connected to a MultiPlatinum, Grammy-Winning Producer who allows/asks me to regularly send him material to pitch to the biggest artists in music. That in and of itself is enough is a once in a lifetime opportunity, and it's been ongoing for nearly a year. There's more, but this isn't about me. It's about: T-A-X-I Have I mentioned that I live in GREEN BAY, WI? I mean, sure, we have the Packers — but it isn't exactly a music hub for anything more than Journey tribute bar bands.

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

Figured Out What Elements I Missed…

It's not to brag about Forwards. What I did was hit the [TAXI] Forums after I got “Returns” and found members who received “Forwards” for the same listings. Then I went and LISTENED. I analyzed the differences in our songs. Lyrics. Vocals. Arrangements. Instrumentations. Productions. I re-read the listings, and figured out what elements I missed. And I adjusted accordingly. Where else can you get that? The success of members (at least this member) is a TEAM effort. And I am honored to consider TAXI part of my team. It is possible to succeed. To “make it.” To realize our dreams. Don't quit. Don't settle. Don't lose hope. And stick with TAXI.

The World’s Leading Independent A&R Company

1-800-458-2111 • TAXI.com

April 2013

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DIRTY SOUTH Date Signed: January 2013 Venue: The Wynn Las Vegas Type of Music: House Band Members: Dragan Roganovic Management: Stephanie LaFera Booking: achaykin@wmeentertainment.com Legal: Ed Shapiro Publicity: Jessica Erskine, jerskine@rogers andcowan.com Web: http://dirtysouth.com A&R: Dirty South

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o sign or not to sign? Fortunately Dirty South (Dragan Roganovic) had the means to avoid the label-signing situation altogether and started his own, Phazing Records, in 2010. The Grammy-nominated Australian DJ and producer has toured heavily for the past five years as well as collaborated and done remixes for names both huge and diverse including U2 and Snoop Dogg. Though he has no need to get picked up by a label, recently Dirty South has done some signing of a different sort. A major Las Vegas resort and casino, The Wynn, signed the artist for an exclusive yearlong residency. Dirty South debuted Feb. 1 at XS Nightclub, the first of a series of performances there and another Wynn venue, Encore Beach Club. The DJ says in a press release that fans can expect some “cool surprises” throughout the year.

“Always try to make a record yours as much as you can.” Alongside this huge step forward, Dirty South finally released an album of his own, Speed of Life, on iTunes March 5 and on CD March 18th. With contributions from Rudy, Ruben Haze (a side project between Rudy and Dirty South) and Joe Gil, Dirty South’s debut LP is a variation of the different musical moods of the artist and the product of his touring experiences. It was during a US tour that Dirty South finally decided to use Phazing Records as an outlet for his first full-length, simply because, as he says, “it just felt right, and timing was perfect.” He looks at the album as a chance to show different sides. “There are high-energy tracks, vocal tracks, laid back tracks. It’s a concept of the way I work and the different things I can do. The things I normally do are pop-based, purely for the dance floor. A lot of the album is that, but at the same time, I was able to do different stuff,” he says. Once he decided to make the album, Dirty South committed to the studio, finishing the record in three months. And it was the record he wanted. “I think you should always try to make a record yours as much as you can, and on your terms. The way it comes out, the way it looks, the way people see it. I think that’s important. I think it has to reflect who you are.” —Jessica Pace 26 April 2013

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YARD OF BLONDES Date Signed: January 2013 Label: Hi Desert Lo-Fi/HK Corp./Believe Type of Music: Folk Rock Band Members: Vincent Walter Jacob, vocals, guitars; Fanny Hill, vocals, piano, organ; Dean Chamberlain, bass; Will Schlick, guitars; Ben Lecourt, drums. Management: Vincent Jacob / Hi Desert Lo-Fi LLC, 310-430-8055 Booking: Vincent Jacob Legal: Vincent Jacob Publicity: natalie@adrenalinepr.com Web: http://yardofblondes.com A&R: Vincent Jacob

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t used to be that record companies held all the cards and discouragingly few bands were able to secure label deals. But with the massive industry changes witnessed in recent years, artists have had to become more innovative; more self-reliant. This is precisely what Los Angeles-based band Yard of Blondes learned prior to the launch of its label, Hi Desert Lo-Fi, in early 2013. Running an indie outfit, the band finds, has some advantages over signing with a traditional label.

“I worked so hard so that we can be 100 percent in control.” “I worked hard so that we can be 100 percent in control of our music and how the CDs are done,” says Vincent Jacob, band vocalist. “I've worked with labels in France and I always felt that I should have done it on my own. Nowadays it’s better to do everything yourself. Our goal is to recoup expenses and then take the profits to make another record.” “Starting it was a big challenge,” Jacob continues, “because when you know the industry it’s probably not a good idea, commercially. My biggest challenge now is to make us survive and keep our freedom. The motivator for me at first was to be able to sell my CDs legally. Our goal [now] is also to develop the label. Hopefully if it works we can sign other bands.” But even completely independent projects can benefit from some form of collaboration. That's why the label partnered with French-based HK Corp., an art agency that's notable for its work with Skrillex. “With [HK] we’ve been able to reach a distributor called Believe,” Jacob explains. “They're putting everything on iTunes and other platforms. We also made two videos and they helped us find directors.” Yard of Blondes’ four-song EP, Murderology, dropped on March 26th. It will be available online and also directly from the band. “I’ll ship them myself,” Jacob says. A West Coast tour will launch in April. The band hopes to expand the tour to Europe in July. —Rob Putnam

JONNY FRITZ Date Signed: Jan. 27, 2013 Label: ATO Records Type of Music: Alt. Country/Americana Management: Christine Stauder/Red Light Management, 646-292-7400 Booking: Andrew Colvin, andrew@groundcontroltouring.com Legal: Jeff Colvin / Marcus & Colvin, 615-742-2565 Publicity: Angie Carlson / angie@propellerpublicity.com Web: http://jonnyfritz.com A&R: Jon Salter & Kirby Lee / ATO Records

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onny Fritz is a master storyteller who can deftly spin a tale along the lines of his songwriting heroes like Tom T. Hall, Michael Hurley, Jerry Reed, Jerry Jeff Walker and Roger Miller. He crafts songs that have observational humor but are also loaded with hefty amounts of truth, irony, poignancy and personal experience. It is a skill he’s developed after nearly a decade on the road—traveling all around the world, playing every kind of dive along the way and selling two independently released recordings to supplement his income and spread his musical gospel.

“[The label] wanted to wait until they had the time to do it right.” The artist’s latest full-length release, Dad Country, is out on ATO and is the first record using his real name. The former Jonny “Corndawg” (a nickname from his Virginian youth) had been working with his manager shopping the disc to labels. “I had my heart set on ATO,” says Fritz. “But I didn’t care how much money or political clout they had. ATO made it clear to me that they cared about the music but wanted to wait until they had the time to do it right.” When the time finally came and the contract was to be signed, he did it in his own inimitable way––he signed it in gravy at Arnold’s Country Kitchen in Nashville, TN. The owner even commemorated the event by taking a photo of it and, much to the delight of Fritz, hung it on the wall next to a photo of Johnny Cash. But the road to getting there was not without some bumps. Fritz was co-producing the album with frequent collaborator Taylor Goldsmith of the band Dawes. They had a studio locked down in Los Angeles, CA, and were prepared to record. At the last minute the original producer left them in the lurch. As luck would have it, Dawes were doing a show in Hollywood that week. Jackson Browne was friends with the guys in the band and had briefly met Fritz before as well. After seeing the show and learning of their plight, Browne offered up his recording facility in L.A. “I put out the last record myself and it was a lotta work,” laments Fritz. “Now ATO will handle all that side of it and I can just play the shows.” —Eric A. Harabadian

DJ FRESH Date Signed: August 2012 Label: Columbia Records Type of Music: Dance Management: Andy Varley / Insanity, andy@insanitygroup.com Booking: Craig D’Souza & Peter Elliott / Primary Talent, craig@primarytalent.com Legal: NA Publicity: Alexandra Greenberg / MSO, 818-380-0400 x223, agreenberg@msopr.com Web: http://thedjfresh.com A&R: Ashley Newton & Harley Wertheimer / Columbia, harley.wertheimer@sonymusic.com

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household name in his native England, dubstep producer Daniel Stein blew minds as one quarter of drum and bass super group Bad Company. Better known as DJ Fresh, he concocted his own label, Breakbeat Kaos, with fellow platter spinner Adam F and signed to Ministry of Sound. Working on the song “Hot Right Now” for his third LP, he employed the services of British-Albanian singer Rita Ora, who’s signed to Jay-Z’s Sony-distributed Roc Nation. Fresh connected with Nation’s Ty Rock through his attorney, Andy Varley, who sparked Columbia’s interest. The label, in turn, sent Rob Stringer and Ashley Newton to Fresh’s soldout show at London’s Koko. This performance, combined with his ability to spotlight new artists via guest appearances, attracted them. Although other labels expressed interest, Stein chose Columbia. “Their team features some of the most respected people in the industry,” notes the artist. “The reputation, size and passion of the label was key.” At the same time, Columbia has agreed to let Fresh continue

“The reputation, size and passion of the label was key.” partnering with small labels––they’ve already signed off on a project with Diplo’s outlet, Mad Decent. Stein let his manager hammer out the details of the agreement, which took around three months. “I trust him with this kind of stuff,” he says, “though I’ve ran my own businesses and it’s sometimes tough to let go. “My battle now is to take the music I love to the world,” he continues. “That’s a phase of my career that is relatively new and based on a long progression through running labels, releasing underground tracks, etcetera.” But if you want to get signed as a DJ, “You just need to take every opportunity you can,” he advises, “and push to make every opportunity work for you.” —Andy Kaufmann April 2013

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Bluegrass Songs Needed

Deep in the Heart of Texas Songwriters The Texas Heritage Songwriters’ Association celebrated its 2013 inductees: Sonny Curtis, Ronnie Dunn and the late Roger Miller. Highlights included Toby Keith (pictured) who entertained the crowd with a Roger Miller musical tribute.

Have you written a new song that the bluegrass industry needs to hear? International Music Bluegrass Association (IBMA) will host a Songwriter Showcase to feature the work of 10 selected songwriters during the World of Bluegrass Business Conference to be hosted in Raleigh, NC, this coming September. The IBMA Songwriter Showcase is not a contest. Its purpose is to present new, original bluegrass songs to artists, producers and labels looking for new material, as well as to other industry reps in the audience. Both veteran and novice songwriters are invited and encouraged to submit songs. Submit a CD of one original song to: IBMA Songwriter Showcase; 608 W. Iris Drive, Nashville, TN 37204. You may also email an mp3 file with lyrics in a Word document to nancyc@ibma.org. Deadline is May 1, 2013. Contact Taylor Coughlin at the IBMA office, 615-256-3222, info@ibma.org.

ASCAP EXPO Update

Jay-Z Signs with Warner/Chappell Under the new regime of publishing heavyweight Big Jon Platt, Warner/Chappell has signed Jay-Z to a publishing administration deal for his future work as well as his music since 2008. Through a separate deal, Warner/Chappell will also represent the songwriters at Jay-Z’s entertainment and management company, Roc Nation. See http://warnerchappell.com.

The American Society of Composers, Authors and Publishers (ASCAP) has announced the initial lineup of panelists and programming for the Eighth Annual ASCAP “I Create Music” EXPO, taking place April 18-20, at the Loews Hollywood Hotel in Los Angeles, CA. Among the highlights: a Keynote Conversation between two massively successful Grammy-winning singer-songwriters and producers, Lionel Richie and Ne-Yo. A Keynote Interview with iconic Aerosmith rock star and songwriter Steven Tyler, who will be interviewed by entertainment news journalist Roger Friedman. A series of writer, composer and producer-focused Master Sessions with some of the most successful names in music, including

Grammy-winning producer and DJ Diplo; producer and EVP of A&R at Def Jam Records No I.D. A broad range of panels covering important topics related to a successful career in music, including craft, engineering and recording, legal issues, marketing, publishing and more. Many successful songwriters, producers and influentials will be on hand to provide insight and advice, such as Akon, Antonina Armato, Aloe Blacc, Michael Brook, Don Cannon, Brandy Clark, Jimmy Fallon’s Jonathan Cohen, Mike Daly, LaShawn Daniels, Randy Goodrum, Brett James, Nathan Johnson, Emanuel “Eman” Kiriakou, Ledisi, Bleu McAuley, Dano “ROBOPOP” Omelio, Robert Ellis Orrall, Matt Pincus, Monte Pittman, Rock City and a total of over 150 others, including top music industry executives. See http://ascap.com/expo.

DeShannon: Back to Kentucky

Jackie DeShannon, credited as one of the first female singer-songwriters of the rock & roll era, is the latest recipient of the Governor’s Award For Lifetime Achievement. DeShannon will receive the award at the Kentucky Music Hall of Fame and Museum 2013 Induction Ceremony. Previous recipients include Lionel Hampton, Dwight Yoakam, Homer Ledford and Hugh X. Lewis. This award is used to recognize people that have made a contribution to the music and entertainment industry as well as charitable causes in Kentucky and around the world. The Kentucky Headhunters, Exile, Skeeter Davis, the Hilltoppers, Old Joe Clark, Emory & Linda Martin and Steven Curtis Chapman will make up the 2013 class of Kentucky Music Hall of Fame and Museum inductees. These artists will join other Kentucky native music professionals to

Round Hill Climbs with Acquisitions Round Hill Music has acquired the writers’ rights to the Calvin Lewis-penned classic, “When A Man Loves A Woman,” as well as picking up the publishing and administration rights to the catalog of recent Song Biz profile subject pictured above, hard-rock songwriter Marti Frederiksen (Aerosmith, Def Leppard, Motley Cure, Ozzy Osbourne and Foreigner, Daughtry and Gavin Rossdale). For further information, see http://roundhillmusic.com. 28 April 2013

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Songwriters March on Congress Multiplatinum songwriters Dan Wilson and Josh Kear met a room of Congress members and staffers to discuss new royalty rates on song streams and downloads. Pictured (l-r): Josh Kear; Rep. Martha Blackburn, co-chair of the Congressional Songwriters Caucus; Dan Wilson; and Paul Williams, ASCAP President.

—DAN KIMPEL dan@dankimpel.com be honored for their contribution to music in the state and around the world. See http://kentuckymusic museum.com.

signals BMI’s fast embrace of this industry evolution.” For complete information on all of BMI’s new initiatives, visit http://bmi.com

Nashville Invites You

Imagem’s New Digs in L.A.

The 11th Annual Nashville Songwriters Festival, May 30-June 2, 2013, is billed as several music happenings in one: a live original music festival, a music conference, a networking opportunity and a gathering of old friends. The original performances, “Speak With A Pro” Mentoring Sessions and Networking Parties are concurrently running events. Attendees can take in all or parts or just play it by ear in three and a half days of music in all genres on multiple stages held in the Music Row vicinity of Music City. Performing and non-performing songwriters, music related business, volunteers and the public wishing to participate can check out http://songwritersfestival.org, email popcorn@songwritersfesti val.org or call 615-424-1491.

BMI at SXSW Broadcast Music, Inc. (BMI) has announced various new technical upgrades and highlighted its new corporate positioning campaign at a “Powered By” focused press briefing at the annual South by Southwest (SXSW) Music Festival in Austin, TX. “Powered By reflects BMI’s focus on innovation and its ability to power or license establishments and digital platforms with music of all genres,” says Richard Conlon, Senior Vice President, Corporate Strategy, Communications & New Media for BMI. “During this evolutionary time in the industry, BMI has a diversified business model and strategic vision that has continued to adapt and address the new challenges while embracing new opportunities to broaden our business portfolio. Our new campaign

Imagem Music, the pop music division of the Imagem Music Group and the world’s largest indie music publisher, has just expanded with new Los Angeles, CA, offices at 9165 W. Sunset Blvd. in West Hollywood. The Imagem catalog includes works by Elvis Presley and Sammy Cahn, in addition to songwriting talent that includes Ludacris, Phil Collins, Genesis, Anna Nalick, Steve Robson, Jens Gad, Temper Trap, Hesta Prynn and Bombay Bicycle Club. Joining the Imagem Music L.A. team is Shari Reich, Director of A&R, who comes to Imagem from Warner Bros. Records in Burbank where she was Director of A&R. Robert Thomas has been named Manager, Creative Services for Imagem’s West Coast office. Previously, Thomas was a Licensing Accounting Manager at Rumblefish. Steve King, who is based in L.A. for Imagem Music, has been promoted to Director, Creative Services. He was formerly Manager, Creative Services. Imagem has promoted Brian Suh, based in L.A., to Director, Business & Legal Affairs. He was formerly Associate Director, Business & Legal Affairs. Suh will continue to handle Business Affairs matters for Imagem Music. In addition, Lauren ShulkeyBarker will be joining Imagem’s West Coast office and supporting the team as Creative Assistant. See http://imagem.com for further information. MICRO-BIO: Dan Kimpel’s newest book, It All Begins with the Music, is penned with legendary A&R exec Don Grierson. Hear Dan’s audio interviews worldwide on Delta Airlines.

Jeff Campbell Honored as Guitar Center Winner Jeff Campbell was announced as Guitar Center’s Singer-Songwriter competition winner, earning him a career-boosting package including $10,000 cash, gear, a performance on Jimmy Kimmel Live! and the opportunity to record a four-song EP with mentor and producer John Shanks. Watch his awardwinning performance at http://jeffcampbellmusic.com.

SESAC Christian Honors SESAC named songwriter-producer Jason Ingram as SESAC’s Christian Songwriter of the Year at ceremonies held on March 5 at the elegant Hillwood Country Club in Nashville, TN. Sony ATV Timber Publishing was named SESAC’s Christian Publishers of the Year. Pictured (l-r): John Mullins, SESAC’s Senior Director, Writer/Publisher Relations; Jason Ingram; Tim Fink, SESAC’s VP, Writer/Publisher Relations and Trevor Gale, SESAC’s Senior VP, Writer/ Publisher relations.

Universal Hot with Hollander Universal Music Group songwriterproducer Sam Hollander’s most recent work includes One Direction’s “Rock Me” and Andy Grammer’s latest single, “Miss Me,” in addition to Train’s top 10 singles “Save Me San Francisco” and “Marry Me.” His previous success includes Gym Class Heroes, Katy Perry, Good Charlotte and Matt Nathanson, among many others. Visit http://umpg. com for more details

BMI’s Pre-Grammy Songwriter Soiree Broadcast Music, Inc. (BMI) presented “How I Wrote That Song,” its annual pre-Grammy event at The Roxy Theatre in West Hollywood, CA. Pictured (l-r): panelists and hit songwriters Luke Laird; B.o.B; Snoop Dogg aka Snoop Lion; Catherine Brewton, BMI VP, Writer/Publisher Relations; and songwriter panelists Evan Bogart and Busta Rhymes. April 2013

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Ali Tamposi:

Kelly Clarkson, Diplo, Beyonce BY DAN KIMPEL

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on’t expect any weepy “victim songs” from Ali Tamposi. “They don’t make you feel better––they just reassure you of your pain,” she says. This songwriter prefers a more commanding message. “There is no better way to make someone feel better than five minutes of empowering lyrics in a cool, fuck you, twisted way.” Her breakthrough song, “What Doesn’t Kill You (Stronger),” a No. 1 Grammy-nominated dance anthem for Kelly Clarkson, is a resounding case in point. Since her arrival in Los Angeles from South Florida three years ago, the 23-year-old Tamposi, who envisioned a career as a recording artist, has blossomed as a formidable songwriter for marquee acts like Gary Clark Jr., Beyonce and Christina Aguilera. With her first co-writing ventures in Los Angeles she was expected to write topline––words and melody––to preexistent tracks. “Nine times out of 10 it never really meshes,” she notes. “There’s too much going on.” She first met her “What Doesn’t Kill You (Stronger)” collaborator Jörgen Elofsson when a fortuitous set of circumstances landed her in a writing session with the Swedish hit man. “One of the producers was looking for a top line writer,” she recalls. “Two days before the session I got called. I knew Jörgen from ‘A Moment Like This’ (Kelly Clarkson). I was shaking with fear and excitement.” After the session, Elofsson inquired about Tamposi’s publishing situation and invited her to Sweden to write. Since she didn’t have a publishing deal, and speculates that she probably had about $10 to her name, she didn’t think that a trans-Atlantic trip would be in the cards. She was mistaken. “Jörgen had just started his own publishing company, and wanted to sign me. He called his partner in that day. It was such a surreal moment; that whole process of going to Sweden and having a little bit of money.” “What Doesn’t Kill You (Stronger)” was written about a year and a half into the Elofsson/Tamposi creative partnership. (David Gamson and Greg Kurstin are additional co-writers.) “Swedes are not normal; they are on another level when it comes to melodies,” Tamposi laughs. “Writing with Jörgen, I have to come in with 10 different titles, and maybe of those 10 he’ll be okay with writing one. It’s a grueling process; he challenges me. The lyric has to be as good as his melody, and that’s hard to compete with.” A torturous breakup back home in Florida provided the backstory for “What Doesn’t Kill You (Stronger)” and it also fueled the emotions of “Empty Words,” recorded by Christina Aguilera, who shares co-writing credit with Tamposi and her collaborators Nikki Flores and Michael Busbee. Although Aguilera added her spin on the song in the studio, Tamposi has since collaborated with the pop star who she calls “a dream writer,” in person. “She’s one of the artists who I feel most comfortable writing with. But then she lays her vocals down and it is mind-blowing.” Tamposi explains her contributions to the collaborative chemistry. “Lyric and melody and concept, but not as much on the music side.” Although she says her mom “spent a shit ton of money on guitar and piano lessons. My musical skills aren’t enough to control a session.” She also notes that her current boyfriend “is an incredible guitar player, and I could never hold a candle to him.” He is James Valentine, lead guitarist for Maroon 5. “Songwriting is a difficult job; there is a lot of pressure in every session. You have to be on your ‘A Game.’ It’s a dream job, but it’s also work,” stresses Tamposi. That said, she appreciates the breathtaking trajectory of her career. “I honestly feel like this isn’t my life, and that I’m dreaming and that it’s three years ago and I’m going to wake up with my crazy ex-boyfriend.” For Tamposi, whose recent projects include Selena Gomez, Diplo, Shakira and Avicii, among others, the value of a song might be measured in a real message, a deep soul and a long life. “A great track with a great melody is a hit,” she concludes. “A great track, a great melody and a killer lyric make a copyright.”

!"#$%&'()%*%+',

30 April 2013

www.musicconnection.com

Contact Michael Moses, BWR Public Relations, 310-248-6171, mmoses@bwr-la.com

“Producers have Pro Tools. Writers have Word.

Songwriters have MasterWriter.” Rob Thomas Grammy Award winning songwriter and artist “MasterWriter will not only help you write great songs, it will make you a better songwriter in the process.”

David Foster

“This comprehensive, user-friendly program streamlines all aspects of the creative process. That is why I never write without MasterWriter.”

Kenneth “Babyface” Edmonds

14-time Grammy Award winning songwriter and producer

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“MasterWriter is a tool that fits the times we live in and is essential for the modern songwriter.”

“MasterWriter is like having a co-writer with a photographic memory.”

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Jimmy Webb

Grammy Award winning songwriter

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DROPS

Business and Legal Forms for Theater, Second Edition (Allworth Press) contains 40 contracts and forms that will save artists and performing groups thousands of dollars in lawyers’ fees, while minimizing their legal risks. Attorney, producer and playwright Charles Grippo explains the proper use of each form in clear, concise language. These ready-to-use forms and contracts cover every aspect of theater law, including author agreements, commissions, production license, play publishing and more. Also included on a convenient CD-ROM, the forms can be copied electronically, modified, customized and saved. This new book is available at all major bookstores but may also be ordered directly from the publisher by calling 212-6436816 or visiting http://allworth.com. Sumthing Else Music Works has released Gears of War: Judgment – The Soundtrack. Featured is original music composed by Steve Jablonsky (Gears of War 3, Gears of War 2, Transformers movie trilogy) and Jacob Shea (Gears of War 3, Crysis 2, Prince of Persia: The Forgotten Sands). The CD is available at retail outlets worldwide through Sumthing Else Music Works http://sumthing.com, and for digital download at Amazon MP3, iTunes and other digital music sites. Contact Greg O’Connor-Read, greg@topdollarpr.com.

CUMBERLAND RIVER Casey Crascenzo, aka the Dear Hunter, will release, Migrant, on April 2, on Equal Vision Records. Ahead of that album, the multi-talented artist will release a DVD recorded live where he performed all 36 songs from his previous collection of work, The Color Spectrum, with full band and string section. The DVD of this event will be released on March 12th. The disc, The Color Spectrum, has garnered high praise, impressing viewers that a band with so little money can produce such high-quality live DVDs. To see a clip, click on “Home” from The Color Spectrum Live, http://youtu.be/aSb4Z R8iSjw. The 10th anniversary season of Glorya Kaufman presents Dance at The Music Center continues in Los Angeles with TRACES, April 26-28 at the Music Center’s Dorothy Chandler Pavilion. An off-Broadway smash combining traditional acrobatic forms with street elements such as skateboarding and basketball, mixed in with some theatre and contemporary dance, the production is making its Music Center debut. For more details see http://musiccenter.org. Award-winning composer Jeff Beal tackles the unique challenge of scoring a project in a new medium of entertainment distribution. Beal sets the tone for Netflix’s first original series, the critically acclaimed drama House of Cards, starring Kevin Spacey and Robin Wright. The show debuted in February and in an unprecedented move, made all 13 Season One episodes available to be instantly streamed. Beal approached House of Cards as if he were scoring a film, inspired by the no-holds-barred direction of the series. In addition to scoring the show, Beal also plays the piano and trumpet for the show’s popular theme song. The two-disc score album is set to be released Friday, April 2, on Varèse Sarabande Records. Contact Ray Costa, rcosta@costacommunications.com.

OPPS

The Nashville SongWriters Festival on Music Row is planning four full days of live original music from all genres on multiple stages, education, parties and networking, May 30-June 2nd. Writers can attend the Specialty Music Areas featuring over 18 Industry Topics plus Q&A sessions about the business of songwriting. There are no pre-qualifications to play or attend and all attendees will have the opportunity to share their words or music. Register at http:// songwritersfestival.org or call 615-424-1491. 32 April 2013

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ARTIE KORNFELD

Sunset Island Music and Artie Kornfeld, who was instrumental in bringing Woodstock to fruition, are joining forces and planning the Back to the Garden Festival for the Fall of 2013. Sunset Island Music produces a music show on the Internet for unsigned bands and indie artists that is hosted by DJ Damien. The program, which has over 1,700,000 listeners, encourages unsigned bands and indie artists to sign up at http://sunsetislandmusic.com to be eligible for play on their radio shows and the festival. Music Business Television is seeking artists and bands to submit videos for their MUBUTV Featured Artist Series which will showcase videos from new and up-and-coming artists of any genre. “We want MUBUTV to be the trusted source to help break the next generation of artists,” says Ritch Esra, one of the co-founders of MUBUTV. Artists and bands looking to submit their videos for consideration can visit their official website at http://mubutv.com. Soundcheque is a new site that matches original music to movies. This site promises composers will retain all rights and royalties in exchange for a one-time 20 percent finder’s fee. To take advantage of this service, visit http:// soundcheque.com. Talent reels are being accepted for consideration as a female co-host for a proposed reality game/dance show. Producers specify a woman with blondish, red or light brown hair who is not “super tall” and can travel. Interested women are asked to contact http://linkedin.com/ pub/james-marthaler/24/539/574.

—TOM KIDD prespak1@verizon.net Network’s TV show, Justified, while producers were in Harlan, KY, gathering information for their upcoming season. With only 24 hours notice, the band got together and wrote a song, “Justified,” as a gift to the show. They received a standing ovation from the writers and producers, including Graham Yost, the multi-award winning writer and producer. Most recently, Cumberland River added the song to their debut album, Rock Island Express, and a version appears as a bonus track on their new album. Cumberland River’s “Justified” music video can be viewed at http:// cumberland-river.com. Contact Penni McDaniel at Hope River Entertainment, 770-367-1480. Embark Music has been selected to music supervise and provide music for The Fallbrook Film Festival in California. This full-length cinematic trailer has been delivered to UltraStar Cinemas. Derek Lefholz, owner of Embark Music, supervised the implementation of music provided by composer Don Spangler for the ambiance and overall theme of the trailer. No stranger to music supervision, Lefholz supervised the full-length feature film Life of Lemon, which was distributed by Filmworks Entertainment. Contact Derek Lefholz, derek@ embarkmusic.com or visit http://fallbrookfilm festival.com.

JOHNNY BENNETT Premiering in April is a new TV program called The Stars of Tomorrow Show. If you are a country, bluegrass or gospel artist who is interested in traveling to Nashville, TN, and being a guest on the show send an email to jkcoltrain@ gmail.com. The producers of MTV’s Run’s House and Style’s Tia and Tamera are looking for an outgoing, over-the-top choir, cheer squad or step team to star in their own reality TV show. If yours is one of the loudest, most outgoing groups you know and are between the ages of 18-26, apply at http://jameskarhu.com and select “Step, Cheer, Choir.” T-3, an online talent show brought to you by the creators of MTV’s Unplugged and the Nickelodeon’s Kid’s Choice Awards, is seeking the next big web star. Contestants are asked to perform any three talents, the more unusual the better, all within three minutes. For complete rules, email t3prods@gmail.com. Fundervine is a new crowd-funding platform for music and film projects. Users can simply register, create a project and get funded. Filmmakers can get pre or post production funding, help with staging a premiere by raising funds through ticket sales or simply offering a finished DVD as a reward. The site works by offering rewards to fans or supporters who can pledge to help the project. They are not charged unless the project raises all the money asked for. Rewards can be anything tangible and project owners can choose to raise funds for 30 to 90 days. Fundervine is open for new projects now at http://fundervine.com.

PROPS

In July 2010, Cumberland River was invited to perform for the writers and producers of the FX

Congrats to the critically acclaimed Muscle Shoals documentary that captivated audiences at the Sundance Film Festival and went on to screen at the George Lindsey UNA Film Festival at the University of North Alabama. The feature-length film, which was directed by Greg “Freddy” Camalier, traces the history of Muscle Shoals music through the people who created it including Gregg Allman, Bono, Jimmy Cliff, Mick Jagger, Alicia Keys, Aretha Franklin, Keith Richards, Percy Sledge and Steve Winwood. View the trailer here http:// youtube/kodhajb6uck. Don’t Pass Me By, the latest drama release from Infinity United Entertainment, showcases the latest single from Blue Pie acoustic soloist, Johnny Bennett, “Sail Boat.” The single is part of Bennett’s most recent compilation, The Violet Hush. See the video and more at http://youtube.com/user/theviolethush or http://johnny-bennett.com. Back Lot Records will release the soundtrack to Oblivion, Universal Pictures’ upcoming action-adventure starring Tom Cruise, on April 9th. It features new music by Anthony Gonzalez of M83 and Joseph Trapanese (TRON: Uprising, The Raid: Redemption). The score features a hybrid of the traditional M83 electronic sound combined with sweeping orchestral elements. It has a brand new song by M83 featuring Norwegian singer-songwriter Susanne Sundfør, which is used as the end title for the film that opens across the country on April 19th. See http:// oblivionmovie.com. Contact Chandler Poling, chandler@whitebearpr.com. MICRO-BIO: In a 20-year career that includes extensive experience as an artist, producer and performer, Tom Kidd has promoted, marketed and developed Emmy- and Oscar-winning composers. He is President of Pres Pak Public Relations.

Out Take

FM Le Sieur Composer

Email: c/o emilie@cw3pr.com Web: http://fmlesieur.com Most Recent: Being Human MONTREAL-BASED composer FM Le Sieur wasn’t scared about getting the job providing all the music for the North American version of Being Human on the Syfy network. By the time the call came, he had already provided music for seven scenes and had done a demo. Besides, he had already scored three previous supernatural films. It was obvious that Le Sieur knew his way around the unknown. “You have to be a fan of scoring,” he says. “You need to be sure you are a fan.” Three seasons into his position with Being Human, Le Sieur’s mix of modern and urban, darkness and humor has earned him a digital release of the music from Seasons 1 & 2. “When I have to choose a song from the album, I hear cues from the movie and little melodies that make the songs themselves,” he says of the project. Like many composers, Le Sieur first wanted to rock, though he always had a love for score. It was at a club gig that he met his first film producer. The producer liked what he heard and asked Le Sieur to score his film. The soon-tobe composer always did like to hang around with cinema people. Though some musicians might have trouble jumping from one genre to another, Le Sieur did not. As he says, “You have to be able to adapt oneself. That’s a big part of the job.” Le Sieur will next adapt himself to a different genre entirely, a police drama. As he completes work on Season 3 of Being Human, “I will start a cop show based in Paris,” he says. “As long as a project is exciting, I’m interested. Whatever the project, you do your best.”

April 2013

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MARS HONORS MARLEY

KEVIN MAZUR/WIREIMAGE/GETTY IMAGES

Bruno Mars led the tribute to Bob Marley at 55th Annual Grammy Awards. He ushered Sting, Rihanna, Damian Marley and Ziggy Marley to the stage for performances of “Locked Out of Heaven,” “Walking on the Moon” and “Could You Be Loved.” Mars sang through a Sennheiser SKM 2000 transmitter, coupled with an MMD 945-1 super-cardioid capsule.

MIGUEL HEATS UP THE GRAMMYS Miguel warmed up his voice with vocal coach Lis Lewis before his smoking vocal performance at the Grammy Awards. He stole the show, singing his Grammy-winning track “Adorn.” After the performance, Billboard’s cover on the R&B singer boldly stated, “Who Really Won The Grammys.” The night before, Lewis and Miguel were see going through their paces for the Clive Davis party. For more on Lis Lewis, visit http://thesingersworkshop.com.

EVERY TIME I DIE AT THE ROXY

JOHN LURIE

Recently rolling through the Sunset Strip, Buffalo, NY’s Every Time I Die (ETID) are currently finishing up their US tour before heading overseas this summer. Along for the Hollywood ride were the Acacia Strain, Vanna, Hundredth and No Bragging Rights. Pictured is ETID frontman Keith Buckley. For tour dates, see http://everytimeidie.net.

MC WRITER HANGS WITH QUINCY AT PLAYBOY MANSION The annual Playboy Jazz Festival press conference was held at the fabled Playboy Mansion in Beverly Hills, CA. Festival organizers, including Playboy founder Hugh Hefner, were on hand to reveal which performers will be headlining this year's event June 15-16 at the Hollywood Bowl. Pictured (l-r): MC writer Corey Irwin with the legendary Quincy Jones. For further details, visit http://playboyjazzfestival.com. 34 April 2013

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— ANDY MESECHER andym@musicconnection.com

Celebrating

36 Years 1977–2013

RIMES WITH....?

Tidbits From Our Tattered Past

BMG Chrysalis hosted and cosponsored (along with the Guild of Music Supervisors) a private show by Grammy-winning, country star LeAnn Rimes in their L.A. office performance space, where Rimes featured selections from her forthcoming album, Spitfire, to an intimate industry crowd. The record is slated for this spring. Pictured (l-r): Jeff Jernigan, ASCAP, Film & TV; Rimes; Michael Todd, ASCAP, Film & TV; Darrell Brown, co-writer/ producer, Spitfire; Wendy Griffiths, BMG Chrysalis US, SVP Marketing.

GREEN DAY, BACK IN THE SADDLE AGAIN

1981–Record Promo–#10

Kevin Estrada

Green Day are captured performing live in an intimate club gig to kick off their 2013 tour at The Fox Theater in Pomona, CA. Billie Joe is clearly ecstatic to be back.

CONNOR NEVER GAVE UP ON HIS DREAMS Legendary drummer Charles Connor––who put the “a-wop bop-a loomop, a-lop bam-boom” into Little Richard’s classic hits and on tours with James Brown, Sam Cooke, Lloyd Price many others––made an appearance at the recent book fair in Santa Monica, CA, where he signed copies of his inspirational book, Don't Give Up Your Dreams. For more details on Connor’s activities, visit http://legendary drummer.tv

Here's a vintage issue of Music Connection, loaded with page after page of golden nuggets such as an announcement about Ricky Nelson doing a benefit show at his alma mater Hollywood High School, or Johnny Rivers showing up at a Malibu bar to jam with Albert Lee. Feature stories focused on: Record Promoters who were working in the industry trenches to get songs on the radio; the controversial topic of tickery scalping; and the aftereffects of the collapse of the RSO record label.

1996–Tracy Bonham–#1 Bonham’s debut single, “Mother, Mother,” was making a big impact on MTV when MC got hold of her. She discussed her fledgling years, telling us that while living in Boston she “borrowed a lot of musicians” until “I finally decided to start a band where everybody could commit to me––and that's when deals started coming.” A feature, “Are Drugs Kiling the Music Industry,” offered comments from manager Ron Stone: “We had a horrible experience with Kurt Cobain, [and now] we have dropped four platinum acts that have done drugs.”

SANTA BARBARA BOWL GOES GREEN Better World Energy founders, Seth Smigelski and John Smigelski, present Santa Barbara Bowl’s Executive Director Rick Boller with a certificate verifying a carbon offset amount of 315,135 lbs. Pictured (l-r): Seth, John and Boller. April 2013

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P

aramore shot onto the pop-punk scene in 2005. Since then, they have released three full-length records, been featured in major motion pictures and prominent video games (Twilight, Guitar Hero, Rock Band) and have been nominated for three Grammys. Rocking out of a Tennessee music scene often stereotyped for its country roots, Paramore’s first album All We Know Is Falling sold over 500,000 copies and the 2007 follow-up Riot! surpassed 1.4 million sales… just in the US. However, just when Paramore began to enjoy the success of their 2009 release, Brand New Eyes, (which peaked at No. 2 on the Billboard 200), the Farro brothers, Josh and Zac, two founding members, gave notice. Fast forward to 2013. After a few years of soul-searching, meeting with various producers and redeveloping their songwriting style, singer Hayley Williams, bassist Jeremy Davis and guitarist Taylor York are fresh off SXSW and amping up to release PARAMORE. For this exclusive article, Williams took a break to discuss the new record, world tours, how Paramore overcame what initially seemed like a fatal blow and what the newly recast power-trio have in store for 2013.

P!"#$ %&

Music Connection: So you’re in Malaysia right now, heading to Australia for the Soundwave festival. What’s the biggest difference between an Australian festival and one in the States?

Hayley Williams: Anytime we do festivals outside of the States, they are a lot more metal. We always end up being the “pop band” on the metal bill, unlike the States where we may fit in a little more. Sometimes we’re even the heaviest band [in the US], which is really weird. MC: Do you enjoy being the odd ones out?

Williams: I like it. I enjoy having something to prove. I think sometimes I go off just a little bit harder at festivals that are more testosterone filled, saying, “Yeah, I’m gonna prove that we’re not just the chick band!” (laughs). It’s weird, but we have a really good time at these festivals. We were playing a festival one time in Europe and I looked over to the side stage and saw Tom Morello. I thought, “What is happening?! This would never happen to us in the States!” MC: Does the crowd respond well to you in that situation?

Williams: Lucky for us, we do okay no matter the billing. When we first started, we would get a lot of hecklers, a lot of older guys. Then I learned to heckle back. I learned that the microphone is power and I can use that [to my advantage]. I go out, have a good time and [if someone] walks away loving us, that feels like a win, even if it’s just one person. MC: Let’s talk production. Why did you go with Justin Meldal-Johnsen (M83, Neon Trees) to produce the new record? 36 April 2013

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ARAMORE By Andy Mesecher

$#% '$(

Williams: We met with a lot of producers this time around, which is not something we’ve been through before. After being gone for two years, there were times where I wondered, “Are people going to forget about us? Do we matter? Is what I have to say as a writer even relevant?” And when we met with all the producers, everyone seemed really interested in what we wanted to do next. MC: But Justin just stood out? Williams: Justin was one of the first guys we met, and we just couldn’t get the things that he said out of our heads. He was so excited about what we could do and the possibilities of our future and how we could shift and shape into a new band. Hearing that and seeing his background and how versatile he is as an artist; it was cool to hear someone like him have a lot of faith in the next chapter of Paramore without even hearing or seeing it yet. MC: Along with Meldal-Johnsen, you brought in Ilan Rubin (Lost Prophets, Angels & Airwaves, NIN) on drums? Williams: Yup. He’s pretty much the only guy outside of the band. I mean, we let Justin do some stuff on keys because he’s just crazy talented with sounds and sound design. I played some keyboards. Carlos [de la Garza], our engineer, did some percussion. It was really fun. Everyone involved with the record, even the studio musicians, felt very collaborative. It felt like everyone was a part of it. MC: Did anyone else participate? Williams: Ken Andrews came in and did some mixing and he ended up singing a background part. We had Roger Manning Jr. write a string arrangement. … Everyone who got involved went all-in. It was cool. We’d never been open to that before, to be honest. With the last record we thought the band was going to fall apart so we were just in and out of the studio every day trying to finish what we had to finish. This was not that experience at all. I came in every morning not knowing what was going to happen, and by the end of the day I was so surprised by what we were capable of, stuff that we’d never tapped into before. MC: Many of our readers, who are also session musicians, may not be well-versed in how to get asked into the studio with a band like Paramore. How do you choose your talent? Williams: First of all, we’re not very well-versed in recording with Paramore either (laughs). This is our first experience as a three-piece and going into the studio and writing songs together. Taylor blew everyone away. He demoed out all these songs—I was there for vocals and Jeremy came in for bass parts. But [Taylor] was so good with sounds and had such a vision for each song that it really made it easy for [our producer] Justin. There was already a good [foundation] for when we brought Justin in. Hearing the versatility in the songs that we had written, Justin brought up Ilan’s name and explained his level of talent and that he was young like us. So when we did pre-pro with him he [quickly] picked up on everything. He did such a good job just laying down feeling and emotion. I don’t think the songs would sound the same if it weren’t Ilan playing them. Other than that, we had all the tools we needed in our tight-knit team: Carlos and Justin were great for the things Me, Jeremy and Taylor couldn’t do. They were there and have so much experience and knowledge to pour out over us. We learned a ton every day.

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MC: Do you have any advice for bands that may have to experience what you did with the departure of the Farro brothers? Williams: Sometimes you really need to go through the one thing you don’t want to go through. I never in a million years would have ever said that I wanted to be in a band with only Jeremy and Taylor. I’ve said in interviews before, “The only drummer I ever want to sing over is Zac Farro.” It’s crazy when I wake up and we go to the venue and it’s just the three of us. But I have to say, that after two-and-a-half years of doing it this way, there is no other way that it should be or could be. It’s exactly the way it’s supposed to be. You have to let life happen. You’re in a band and you want to be an artist who expresses thought and feeling, but you’re not going to have anything to express if you don’t go through those struggles and that normal life stuff. Losing

two band members is not an abnormal thing; it’s the same thing as losing two friends when moving away to college or moving into the real world… it’s just life. We had to let it happen. If not, Taylor wouldn’t have stepped up into this primary songwriter role. He’s told me before that he was scared to death. But it was a push that he needed, and now he’s an artist who no one could have ever predicted he would be. You gotta accept it. It definitely hurts, but that makes great art. MC: Speaking of new songwriting, “Ain’t It Fun” off the upcoming record showcases a fresh kind of soulful choir vocals, unlike the pop-punk chant style we’ve heard in previous Paramore records. Williams: That song came together in such a cool way. Taylor wrote the first two guitarkeyboard bars. I walked into his hotel room and he had his computer with speakers set up on FIJI

water bottles and I heard this thing playing and I said, “What is this? It’s so cool!” He was just trying some sounds for himself and I told him, “No, this is a Paramore song. We have to write to this!” Just being open and letting the song take us where it wanted to go, by the end of that night, I was tracking some vocals in Taylor’s room and I said, “You sing it with me. Let’s just pretend we’re a choir,” as if by some chance we would actually get a choir on the record… We didn’t really think it was going to happen, and then six months later we’re at Sunset Sound [Studios] with a legit gospel choir from L.A. who are just wailing on this song. I felt like I was in some sort of Mariah Carey Christmas track. It was so good. I grew up on that kind of stuff. It was my favorite day in the studio. I’m really excited for people to hear that one. MC: They will hear it soon enough, and most likely on Rdio or Spotify. How do you feel about the industry shift into streaming music services? Williams: I am one of those people in the stone ages. I like buying music. I don’t even think twice about it. Taylor and Jeremy are really into Spotify. It’s just something that I haven’t committed to yet. I’ve messed around and made little playlists on Rdio before, but it’s just not my vibe yet. [But] I don’t think [music streaming is] killing the industry—the industry’s been under attack since I was 12 years old when I was downloading Kazaa on my computer. I feel like music fans are going to get music however they want, and as long as people are coming out to shows l-r: Hayley Williams, Taylor York, Jeremy Davis

!"# %&

IN AN INTERVIEW with HitQuarters, Paramore’s A&R rep at Atlantic Records, Steve Robertson, explained that they didn’t give All We Know Is Falling a major radio promotional push. He believed the band’s reputation should grow organically through word of mouth. In his words, Robertson “wanted kids to discover the band without it being shoved down their throats.” r The band covered “My Hero” by the Foo Fighters for the Sound of Superman soundtrack. r Paramore’s music has been featured in video games The Sims 2, Rock Band, Guitar Hero, Saints Row 2 and EA Sports NHL 08.

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I don’t really care if they’re streaming it for free, for a penny, I don’t really care what it is… I just want people to come out to the show and know the words and sing along! MC: Well, you have the “Singles Club.” Is that Paramore’s battle against iTunes? Williams: We’ve never been one of those artists that don’t put our album up on iTunes for 10 years and then you do it and it explodes… I’ve seen artists do that and I’ve wondered, is that genius? Is it stupid? I don’t know! With the Singles Club we wanted to do something that would go straight to our fans. We didn’t want all the hype. We didn’t want all the press about it. We just wanted something that said, “This is where we are right now, life is kind of sucking at the moment and these are the songs that came out of it.” MC: Sounds like a perfect outlet for you.

MC: You’re no stranger to collaboration (mewithoutYOU, Set Your Goals, New Found Glory). We know you teamed up with B.o.B a couple years ago on his track “Airplanes,” which sold over 138,000 copies in its first week. A few years ago, Lupe Fiasco spoke with MC and shed some light on how forced the hip-hop collaborations are these days. How did your successful song come together? Williams: We were playing a show at Hammerstein Ballroom in New York and Jeremy from Atlantic Records, who had just started working with B.o.B, came to me and said, “You would be so perfect on this song. We really need someone to do it.” I put it on and the guys [in the band] said, “You have to do this! This is such a cool song.” And yeah, I pretty much did the chorus without meeting B.o.B. Me and B.o.B didn’t meet until the VMAs after the song had blown up. It

was crazy, but I am so thankful for it because I’m not one of those artists who feels comfortable going into a room with people I’ve never met and just writing. I know what Lupe is talking about, I know that vibe and how disconnected it can be, but in this case it actually brought Paramore and B.o.B together. We ended up doing a tour with him after that. He’s one of our greatest friends. He goes and visits Jeremy and stays at his house with Jeremy and his wife. It’s cool. That song brought two artists together who never would have met—and probably never would have crossed paths—and it was awesome. I hope to do more things like that. I write Paramore songs. I don’t really write for other people, at least I haven’t yet. So it would be cool to meet other artists and have it do what it did for us and B.o.B. Contact christina.kotsamanidis@ atlanticrecords.com

Williams: We needed the Singles Club. It sort of fueled our fire. We were feeling a lot of different things [after the departure of Josh and Zac Farro] and we needed to prove to ourselves that we could remain Paramore. And I’d like to do more of that, honestly. Taylor is a super gearhead so we’re going to use all of his stuff and experiment a lot and enjoy our free time just making music. I don’t want to get into that place where we don’t write between records anymore. I want to keep producing new music for our fans and some of it will be on iTunes and some of it won’t.

#$#% '$( QUICK FACTS

r The band’s upcoming self-titled (and fourth full-length) will be the first major release without brothers Zac and Josh Farro. r The Franklin, TN natives have three Grammy nominations (Best New Artist 2008, Best Song Written for Visual Media [Twilight], Best Pop Performance by a Duo or Group with Vocals 2011). Hayley Williams has been the recipient of various individual trophies including the Fashionista Award (Los Premios, MTV Latinoamérica) and Tweeter of the Year, Kerrang! r B.o.B’s track “Airplanes,” featuring Hayley Williams, went 4x Platinum in the US, 3x Platinum in Australia, 2x Platinum in Canada and Platinum in New Zealand.

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April 2013

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EACH YEAR AT THIS TIME Music Connection sits down with a select crew of guitarists and bassists to present them with a series of questions focusing on topics that all players can sink their picks into. This year’s group of five acclaimed musicians are Orianthi Panagaris (Alice Cooper, Michael Jackson), P-Funk’s Lige Curry, Sevendust’s Clint Lowery, Vintage Trouble’s Nalle Colt and the legendary Mountain man, Leslie West. While each represents a different style and discipline, all are equally passionate about what they do and how they’ve worked to develop their gifts.

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!"#$%&#!'#$(!

Mountain

Contact: Steve Karas, skaras@skhmusic.com

BLUES-ROCK ICON Leslie West has seen it all, from jamming with Jimi Hendrix, reaching the heights of fame with his band Mountain, to losing his right leg to diabetes. Famous for his hit “Mississippi Queen,” West continues to move forward, having recorded The Usual Suspects with Slash, Zakk Wylde and Billy Gibbons in 2011. West is currently in the studio recording a new album.

Do you have a mentor? Early on, Eric Clapton without a doubt. The tone he had was right out of the Marshall. His vibrato is what I tried to work on and still work on every day. I want it to sound like a first-chair violin in an orchestra.

Just playing so much. We’ve been constantly touring. The thing for me is to be in the moment as much as possible. I want to really live in the music and not think about anything else when I perform live. I really think I’ve learned to find my moment and just shut everything else off.

What is your most underappreciated quality? I work really hard on my tone. I want it to be velvet.

What do you notice when you hear a recording of yourself from five or 10 years ago? I’m a little bit of a critical guy. I listen back to it and I say, “Oh, I wish I had done that better.” Sometimes when I listen back to things that were a long time ago, I’m surprised. It usually surprises me that it’s better than I thought it was. It’s always fun to go back. It’s like reading your old journals.

What have you done in the past year to become a better musician? I’m constantly working on my sound. If you play enough, you’re going to sound and play better. I lost my right leg about a year and a half ago. I haven’t gotten use to my prosthetic, so I can’t stand and play guitar. It’s a whole new world for me, playing and sitting. I bring my guitar to rehab. I’ll be standing with parallel bars and wearing the guitar to see how my balance is with the prosthetic. It’s not too good. I concentrate on other things, like working on my sound and the Leslie West signaturemodel guitars I have with Dean Guitars.

Have you added any gear that has changed your sound or style? First of all, the guitar. I used to be a Fender Strat man for so many years. But when we started Vintage Trouble I borrowed a Gibson Les Paul and I had never really played Gibson guitars. That was the first thing I changed. I wanted to do something different. The Les Paul was what I brought in, playing through an old tweed amp. It’s a very specific sound. What can you tell us about your guitar roadie? When we started the tour with the Who, I really needed somebody who could work with guitars. Jeff Crawford was the guy, but he had to go back to his old job, working with Darius Rucker, so we just got a new guy. It’s a very important job, especially when you’re touring this much and dealing with different weather every day. Guitars are sensitive instruments and it’s hard to keep them up. Jeff was great, and I’m sad to see him leave.

Tell us about your gear endorsement with them. Elliott Rubinson, the president of Dean Guitars, is a really great guy. They make a quality product and I’m really proud of the guitar they made for me. My signature model for Blackstar will be a 30-watt practice amp. It’s a great sounding smaller amp and the tone is great. What do you notice when you hear a recording of yourself from five or 10 years ago? I used to smoke pot, so I don’t hear that anymore in my voice. When you play it’s like talking, where you’re throwing your voice. When you hear something come back at you, your ears catch it and it sounds different. Sometimes you say, “That doesn’t sound like me.” But it is. I now try to listen to what it sounds like during playback, because that’s what really counts. Have you added any gear that has changed your sound or style? Since I only have a left leg now, my pedals are limited. That’s why my Blackstar Series One 100-watt amp works so good. I don’t use any distortion or overdrive pedals. The amp itself has a clean, a heavier clean, a dirty and a real dirty. It’s one pedal with four buttons. I use a TC Electronic Flashback Delay and a MXR Slash Octave Fuzz. Tell us about your guitar roadie. Mark Webber doesn’t play guitar but he’s good at setting them up. He’s very loyal and good at certain things, but he cannot play the damn guitar. In fact I don’t let him play guitar when he checks them out. I tell him, “Don’t play a chord. I don’t want anyone to think it’s me.” He’s a good guy and he’s honest.

What’s your worst onstage mishap? We were playing The Beacon Theatre with Dio. One of the idiots from the promotion department tried to come on stage. He tripped over the wiring for my amps. I had three stacks on stage and the whole rig came crashing down. Luckily it didn’t kill me. They were still on and plugged in, so I just played right through.

!)*%%#!+,%(

Vintage Trouble

Contact: Brenna Sexton, brenna@bighassle.com

SWEDISH GUITAR wizard Nalle Colt has been on a roll since joining the band Vintage Trouble, who’ve been wowing fans with a unique blend of soul, rock and R&B. Their album, The Bomb Shelter Sessions, has exploded, landed them a guest appearance on Late Night With David Letterman, and sent the group around the world in support of the Who. What have you done in the past year to become a better musician?

Do you have a mentor? My true mentor in life is my grandmother. She was a concert piano player. I grew up with her mindset of life in general. As far as guitar players, Jimmy Page has always been a big influence. What is your most underappreciated quality? I do a lot of artwork. I love working with graphics outside of music. I do all the graphics for the band. All the artwork that you see from Vintage Trouble, with logos, styles and websites, that’s me. What’s your worst onstage mishap? We had just started touring with Brian May from Queen, playing in this beautiful old theater in England. I had a moment where it featured me doing a guitar solo and suddenly the cord just died. I didn’t have a guitar tech, but the guy who helped Brian May ran out and saved me. Tell us about your gear endorsements. The main one is Lazy J amps from England. They’re a bit of a clone of a ‘58 Fender Tweed Deluxe. It’s a very simple amp with just volume and tone. I’m very proud of them and I use them all the time.

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! !"#$%&!'()*+, Sevendust

Contact: Amanda Cagan, amanda@abc-pr.com

GUITARIST Clint Lowery is a key architect in designing the sound of the melodic metal band Sevendust. The new album Black Out The Sun is their most intense recording to date. Lowery’s guitar style features staccato rhythmic bursts and soaring solos. A texturalist as well as a groove player, Lowery not only handles guitar duties, he co-writes, arranges and contributes vocally. What have you done in the past year to become a better musician? I’ve gone back to the basics, just woodshedding. I’ve been practicing a lot and doing exercises, working on my legato, finger picking and anything I’m weak in, like slide guitar playing. I just try to designate an hour or so a day to work on it so I can be a better all-around player. What do you notice when you hear a recording of yourself from five or 10 years ago? I notice the influences of what was going on at the time. I can hear certain things that I was listening to by the riffs I’m playing, and what kind of effects I’m using. Have you added any gear that has changed your sound or style? I haven’t. I’m boring. I change guitars for the most part, but everything else, nothing. I’m going to revamp my rig pretty soon. I wanna get a better clean channel, and I want to get a multi-amp thing going. I want to blend my EVH 100-watt head with something else to get a wider sound. Tell us about your guitar roadie. I have a new guy coming in who’s worked with a bunch of people, like Slash, Pink and Anthrax. I’m excited to work with him. Sevendust has been off for a while, so I didn’t really sustain the same guy I had before. The new guy is really good. He’s a technical guy who knows everything about the gear aspect. I’m not a gearhead. I need that yin and yang. I need someone who can sort out everything, or any kind of problem solving that needs to happen. Do you have a mentor? My dad. As far as natural feel and guitar playing, he was my mentor. Steve Vai is someone I look up to as far as a guy who mastered the guitar. He’s comfortable with a guitar in his hands. Steve Vai is pretty much the man. What is your most underappreciated quality? My soloing. I don’t ever really get the chance to really tee off on guitar solos. I can tear up a fretboard if you give me the opportunity. I don’t think people realize that I come from that old-school mentality of playing. I grew up with Yngwie, Paul Gilbert, Steve Vai and Dimebag Darrell. That’s the school I come from. What’s your worst onstage mishap? I’ve played with many a stomach virus where I have thrown up or shit in my pants. I’ve done a lot of that over the years. I’ve had gear that has gone down for an entire set. We’ve played for 15 years so there’s going to be a lot of mishaps. It’s hard to remember them all. Tell us about your gear endorsements. I have a deal with PRS Guitars. I have a signature model. We also have a deal with EVH amps. We’re obviously big fans of Eddie Van Halen. The whole camp over there is really 44 April 2013

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cool. We’re also with Ernie Ball Strings, but obviously pretty loyal to PRS. They’ve been with me for a long time.

!'$-*!".++,

Parliament Funkadelic

Contact: danielsiwek@roadrunner.com

LIGE CURRY has been laying down the deep pocket bass lines for George Clinton’s Parliament Funkadelic for the past 30 years. Following in the footsteps of such P-Funk bass icons as Rodney “Skeet” Curtis, Cordell “Boogie” Mosson, William “Billy Bass” Nelson and Bootsy Collins, Curry has kept the funk alive and upheld the refrain, “One nation under a groove.” What have you done in the past year to become a better musician? What I did the most that I’m still trying to learn how to do is listen. Whether it’s live or in the studio, the key is listening. I pay more attention and remind myself to remember to pay attention. I would be nothing if I didn’t know how to listen. I’ve gotten better not only at hearing what people are playing, but what people are saying. What do you notice when you hear a recording of yourself from five or 10 years ago? Five years ago I was playing a lot more tense than I am now. It was due to my hands and

arms hurting. What I did was reposition the strap on my bass. Now I play with my plucking hand extended, instead of up like a bow. A lot of bass players play high on their chests or on their stomach so they can dig in. I went the opposite way. Now I don’t have as much pain in my forearm and wrist. Have you added any gear that has changed your sound or style? The last addition was a MXR Bass Envelope Filter. I came after Bootsy Collins, so he laid down the law with his Mu-tron III. George Clinton has this thing were he says, “Play it like the record!” I added the Bass Envelope Filter. It’s not a Mu-tron III, but it’s so small and gets so many different tones. Rather than me carry a pedal board, I’d rather take this pedal. Tell us about your roadie. I do everything myself. We have a drum tech and a stage manager who can tune guitars. I have two personal guys that I use on my thing who I love to death. George Clinton doesn’t have the kind of shows that require a lot of tech stuff going on. I like changing my own strings. Do you have a mentor? Larry Graham and rock cats like Chris Squire. I was a big fan of Ray Brown; he use to play on The Merv Griffin Show. Within my own camp I was a huge fan of all the bass players that I got

a chance to follow—also Stanley Clarke and Jaco Pastorius. The bass player who inspired me the most was Jermaine Jackson. What is your most underappreciated quality? My songwriting, but that’s getting ready to change. What’s your worst onstage mishap? If the bass goes out at anytime, it’s critical. It’s like the bottom falling out. Everybody turns around and looks at you. At one show, it must have taken 20 or 30 minutes for the techs to repair my amp. It was the most embarrassing thing in my life. They ended up having to get a whole other rig. Tell us about your gear endorsements. I use Reunion Blues for gig bags and I love those people. I’ve had an endorsement with Mesa Boogie for about seven years now. If Paul McCartney can have a Mesa Boogie amp, then Lige Curry can have one. I really admire the company and the representatives at Mesa Boogie. I’ve been buying D’Addario strings since I was a kid, and I use them to this day. I’m happy.

That has definitely helped to make me a better player. What do you notice when you hear a recording of yourself from five or 10 years ago? Every year I’m picking up different things and playing with different people. I notice that 10 years ago I was listening to more ‘80s guitar players and instrumental music. That was when I made my first demo at home. Now I’m into more rock music with singing and blues. My vibrato has gotten better. Have you added any gear that has changed your sound or style? I’m using a Digitech Whammy Pedal, a Boss Octave pedal and a Fuzz Face. I really like that

combination where it sounds like the bass is playing with you. It’s a monstrous sound. I used it a lot on my new record for the songs “Frozen,” “Heaven In This Hell” and “Filthy Blues.” Tell us about your guitar roadie. When I’m on tour with Alice Cooper I have Brian. He takes care of my babies on the road. Traveling really wears on guitars, with temperature changes and whatnot. If it doesn’t feel right, it really affects your playing. They work hard and I really appreciate having a tech. Do you have a mentor? Steve Vai. I recorded with him when I was 15. He stayed in contact with me via email until I came to the States. I would send him demos

!"#$%&'($

The Alice Cooper Band Contact: Karen Webb, karen@prsquaredpr.com

GUITAR PHENOMENON Orianthi Panagaris’ impressive career includes having shared the stage with Carlos Santana, Steve Vai and Michael Jackson. She’s the guitarist in Alice Cooper’s band and a pop star in her own right with her debut single, “According To You.” This Aussie of Greek heritage just completed Heaven In This Hell, a feisty blues-rock tour de force full of ballsy guitar, Nashville vibe and radio-friendly accessibility. What have you done in the past year to become a better musician? I’ve been on tour with Alice Cooper. That definitely makes you a better musician. There are so many songs to learn and so many parts to learn. I also get to play with two other guitar players. and he would write back to me and tell me which parts were good and which parts could be better. He really paid attention. He’s an incredible guitar player, but also a great person. What is your most underappreciated quality? When my first single came out, people got the impression that I was this product or something. I’ve been playing the blues since I was 11. I spend a lot of time creating music and being real, so I think the blues and the rock elements are more upfront with this album. I see myself more as an artist than a guitar player. Tell us about your gear endorsements. I’m here [in the US] because of Paul Reed Smith. He invited me to play the NAMM show. I played a show one night with Santana. An A&R guy was in the audience and that’s how I got signed. Not only is Paul an incredible guitar player and guitar maker, he’s been such a big supporter. I’m really happy with their guitars. What’s your worst onstage mishap? My bass player got the tuning pegs in his headstock caught in my hair. There were 10,000 people in the audience. The guitar tech had to come to our rescue. This went on for half the song. Everybody was laughing in the front row. It was very Spinal Tap and ridiculous. I was like, “It’s all entertainment!” April 2013

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MC sent a team out to Austin, TX for three things: Music Expo, live shows and sweet Southern BBQ. Here is a photo recap of South By Southwest 2013. Additional photos can be seen at http://jodydomingue.com. !"#Shaky Graves $"#Lissie %" A furry friend howling for cash &" An unknown busker on break '" Cold War Kids' Nathan Willett and Matt Maust prepping for MC video interview ("#Cross Faith )"#Paramore *"#The Skins +"#The Staves !,"#MC Associate Editor Andy Mesecher interviewing Josh Baze !!"#The Wheeler Brothers !$"#Toro y Moi !%"#Adrian Grenier with special guest !&"#Dawes joining John Fogerty onstage

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—BRETT BUSH

MondoTunes

Upstart Distribution Service “By Musicians for Musicians”

I

n the cluttered area of artist services now available via digital downloads, social

networking, electronic marketing and even physical distribution, it can be confusing to choose who to pay to get your music out, and how much value you’ll receive. MondoTunes was created to streamline the options. The company was cofounded in 2011 by Javan Mershad and his associates, who set out to create a service “by musicians, for musicians.” The primary service it offers is a vast international distribution system. Artists pay a one-time fee to have their single, EP, album or video distributed via MondoTunes, and artists retain 100 percent of their royalties and rights. MondoTunes distributes the recordings to more than 750 online retailers including iTunes and Amazon. The one-time fee (starting at $7.99 for a single, $37.99 for an LP) is a unique approach compared to other online distributers, which typically charge additional monthly or annual fees. MondoTunes also offers the option of creating your own label for $39.99. “We bought stock in the idea that with technology these days, artists have so much material available,” says Mershad, “and don’t necessarily have the recording and rehearsal fees of a few years ago. This is a great, affordable way for artists to try out their music. We count on making a profit with repeat business.” According to Mershad, the company currently represents thousands of artist projects, from up-and-coming artists to established artists including former Pussycat Doll Kaya Jones and Jim Sonefeld of Hootie and the Blowfish. Mershad’s background is as an artist, producer and writer who performed with a touring band for several years. “We never really broke,” he says. During that experience, however, he became more interested in the business and distribution side of the

industry and decided to create an affordable, simple way for music to be distributed. “I developed many relationships with Amazon and others that artists can’t always approach directly.” Based in Southern California, MondoTunes can offer such low fees by keeping its own overhead low. “We do everything in-house,” says Mershad, “with a staff of six that we plan to expand to 10.” The company has built a strong word-of-mouth business, in addition to repeat business. “We did a lot of research on the keywords musicians typically use when researching services, and we talked to a lot of musicians, and most of us involved with the company are musicians, so we know what artists are looking for.” The company’s efforts to create a true “music service” extends to an available marketing package that includes creating and distributing press releases, electronic press kits, international blog posting and monitoring, and mastering services. MondoTunes also has relationships with music supervisors and clearinghouses seeking music for television and movies. Future plans include helping artists reclaim past royalties, and to expand their licensing and publishing services. Clients represent all popular genres, including alternative, rock, pop, urban, country, children’s music and R&B. “We also offer the opportunity for artists to redistribute back catalog tracks. Some of our clients are established artists who no longer have record deals.” The fees taken by the retail partners are the only fees from sales that the artist will not receive. Typically, a retail single download sells for 99 cents, with the retailer taking its (varying) percentage. The rest of the sale price goes to MondoTunes, where it is distributed to the artist on a quarterly basis, complete with detailed statements of sales. Mershad notes that artists often see more of a return on international sales. “We want to create a culture that truly serves the artist,” says Mershad. “The rest of it will fall into place.”

“Most of us involved with the company are musicians, so we know what artists are looking for.”

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Visit http://mondotunes.com

Since 1939...

...we’ve been your onestop source for media manufacturing, and we’re still the oldest and largest VINYL, CD & DVD manufacturer.

" # # # " ! " ! " " "

www.rainborecords.com 8960 Eton Ave., Canoga Park, CA 91304

(818) 280-1100 ( Fax: (818) 280-1101 info@rainborecords.com January 2013

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— ANDY KAUFMANN

Talib Kweli

S

ince breaking onto the stage with Black Star, the duo he formed with Mos Def in the late ‘90s, Talib Kweli Greene’s career has floated somewhere between superstar popularity and indie artist with impeccable street cred. It’s a tension the Brooklyn-raised rapper acknowledges. “My place in this business was an inspiration for this album,” he insists regarding his latest release, Prisoner of Conscious, due May 7th and featuring appearances by Busta Rhymes, Nelly and Kendrick Lamar. “But I’m more about creating an industry around myself than I am worried about where my place is in this industry.” That independent spirit led to the formation of Javotti Media. Prisoner was originally going to be released on Blacksmith Records, the label launched by his former manager, Corey Smyth. “It became apparent I needed to exert complete control over the way my project was run,” he claims. “The only person you can depend on sometimes is yourself, so I made the decision toward the end of recording to do it on my own label.” Although he isn’t actively seeking artists, two other performers are associated with Javotti. Houston’s Corey Mo teamed up with Kweli on joints like “Getting to the Money,” while R&B singer Res piqued his attention with tracks sent via Myspace. Together, Kweli and Res formed Idle Warship. The arrangement resembles a mentorship more than a traditional label deal. “I’ve developed a knowledge of the landscape that is invaluable for artists,” insists Kweli. “So when I have an artist that’s talented and works hard, I’m inclined to help them out.” This year, Kweli brought both Res and Mo on tour. Incidentally,

touring is something Kweli declares key to his success, logging between 200 and 250 shows a year. “I’ve approached touring just like a rock band would,” he reveals, encouraging new rappers to do the same. “Part of the problem with hip-hop is that people don’t know how to perform,” he continues. “A record might work in the club, but it doesn’t mean that artist can deliver outside of a night club scenario. You have artists getting paid to Milli Vanilli over their record. It cripples the hip-hop artist from being able to perform live. And the tragedy is the only way anyone is investing money in a hip-hop record is if they’re making a record about a night club experience.” The value behind certain tours has also changed, he explains, pointing to the Rock the Bells and Paid Dues tours as examples. “I’ve been doing Rock the Bells for years, because my records have always come out through the major label system. But the indie artists are now the ones who people are excited about. These guys are performing on Paid Dues. Now that I’m not on a major, I’m on Paid Dues. Normally, that would sound like a step backwards, but Paid Dues is really the stage I want to perform on, because it’s where all the artists that people are excited about are performing.” And it isn’t just touring that has shifted. The very nature of communal affiliation has transformed. “When I started, there was a community,” he reminisces. “You had to go to Washington Square Park, you’d kick your little raps. Now, those communities exist but they exist online. Find out who is making the type of music you like,” he suggests, “and bounce ideas off each other. No one does this alone.”

“Part of the problem with hip-hop is that people don’t know how to perform.”

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Contact Carla Senft / Press Here, 212246-2640, carla@ pressherepublicity. com

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Meeting of Important People My Ears Are Having a Heart Attack Authentik Artists Producer: Brian Deck

LMNOPQRSTUV

Harper Simon Division Street

Tulsi Records / [PIAS] America Producer: Tom Rothrock

LMNOPQRSTUV

Fallen Riviera Another World

Self Producers: Wyn Davis & Ken Scott

LMNOPQRSTUV

David Arkenstone/Charlee Brooks Loveren QDV Recordings Producers: Davis Arkenstone & Charlee Brooks

LMNOPQRSTUV

Now that Ween have broken up, there’s a hole where quirky, heartfelt rock once ruled the underground. Pennsylvania’s Meeting of Important People goes just part way toward filling that void. Neither hitting listeners with awe-inspiring instrumental bridges nor gut-busting emotional crescendos, their forte remains delectable beats paved with wry, expertly constructed lyrics. This third effort comes stuffed with savory tunes and masks a delicate complexity that’s irresistible. Here’s a trio that can rock with the best, yet are equally comfortable putting the wild shtick on ice and focusing, instead, on well-crafted, mellow numbers that emphasize their inherent likability factor. If only more acts could do the same. —Andy Kaufmann Simon has traded in his country-folk flavored methodology for a more rough and tumble approach. Despite claims of emulating the Rolling Stones and Velvet Underground, these arrangements only sporadically serve up that level of soulshattering impact, which still impresses. What they consistently deliver, instead, is a persistent ethereal quality that nestles underneath a crispy coating of rock & roll hum. His feel is dazzling, yet Simon’s sound doesn’t push past expectations. The disc’s worth inspecting for the sparkling menagerie of fellow travelers he’s enlisted, which includes Feist’s musical director, Elvis Costello’s drummer, the bassist for the Strokes, Wilco’s keyboardist and Bright Eyes’ Nate Walcott. Pretty boss. —Andy Kaufmann If you’ve grown tired of cookie cutter pop/rock bands where auto-tune and image take the forefront, here is your antidote. Modern rock gems such as the reflective “Those Times are Gone” or the plaintive “Somebody Take Me” are a feast for the mind and ears. Keyboardist Will Parry and guitarist Steve Ornest bring a Beatle-esque sensibility to the songwriting in terms of intelligent wordplay and honest emotions. And their vocal harmonies are rich and well defined. Drummer Aviv Cohen and bassist Matthew Denis provide an extensive range of rhythms that propel the tunes above standard radio fare. This is a disc that works on a “singles” level but is best enjoyed when appreciated in its entirety as an “album.” —Eric A. Harabadian Neo-classical/new age multi-instrumentalist David Arkenstone—collaborating with operatic vocalist and musician-composer Charlee Brooks—dives (literally!) into a symphonic adventure rich with dreamy ambiences, inspiring vocal textures (by Brooks and the Nashville Soul Choir) and explosive world grooves. Brooks’ ethereal power drives the narrative, which is based on a romantic fantasy fable about a mermaid on a quest of the heart and her merman that gets away—at least until the closing anthem “Love Always Waits.” Lovers of Enya and Celtic Woman will be enchanted by the multi-faceted sonic magic—but the cinematic dual vision of Arkenstone and Brooks transcends the typical fare of genre beautifully. —Jonathan Widran

The Strokes

Comedown Machine RCA/ Sony Music Producer: Gus Oberg

LMNOPQRSTUV

Bilal

A Love Surreal eOne Records Producers: Conley “Tone” Whitfield, Mike Severson & Corey, Shafiq Husayn, Steve Mckie

LMNOPQRSTUV

The Band Perry Pioneer

Big Machine/Universal Producer: Dann Huff

LMNOPQRSTUV

Senses Fail Renacer

Staple Records Producer: Shaun Lopez

LMNOPQRSTUV

The Strokes are like heroin—the first few times you hear them, it’s the best thing you have ever experienced, and then that feeling wears off. You try to get some more, but it never has the same effect. The title of this LP may refer to that, however, they have a new strain. After doing the requisite solo efforts, the crew got back together to create a terrific bunch of songs. There is a bit more straightforward rhythm on this effort, in songs including “Tap Out,” but guitar-driven songs such as “Partners in Crime” are not only pure Strokes, they demonstrate a true evolution of the band. It is a fresh bunch of tunes that still remain true to the original sound the Strokes created way back in the ‘00s. This is it! —Fuchsia Black Jazzy, sensual and acoustic, featuring passionate lyrics reminiscent of Raphael Saadiq, Bilal softly massages the listener’s cerebral cortex. Piano keys blend beautifully with guitar riffs to set a classy, ambient atmosphere. Bilal’s Philadelphia-bred vocals have a seductive feel, able to penetrate the hearts of the opposite sex and lovers of melodramatic music. His ability to explore the boy-meets-girl, boy-breaks-up-with-girl, then-gets-back-together-with girl motif is demonstrated in “Butterfly,” which conjures images of love being rekindled between two people. A Love Surreal is a spiritual magnum opus made for sluggish afternoons and moonlit evenings either by yourself or with your significant other. —Adam Seyum With their lead-off single “Better Dig Two” certified platinum, this family trio have a powerful prelude to Pioneer, the followup to their massively successful debut. A consortium of Music Row writers including Shane McAnally penned the initial hit, but each member contributes songwriting credits to the bulk of the set list. While guitar-savvy producer Dann Huff highlights the band’s arena aspirations, he deftly balances these rock elements with guitars, fiddle and plaintive harmonies that connect to the band’s homespun Southern origins in “The End of Time,” and the poignant title track. With these riches, flatulent synths (“I’m A Keeper”) and cloying shout-out choruses (“Forever Mine Nevermind”) are only occasional distractions. —Dan Kimpel Renacer (Spanish for “to be reborn”) is a fitting title. In 2004 Senses Fail hit the emo scene so quick, listeners thought it familiar. As members came and went, the tunes became poppier with lyrically melodramatic choruses over shredding solos. After the departure of longtime guitarist/key songwriter Garrett Zablocki, Buddy Nielsen and company have now replaced usual SF producer Brian McTernan on this record, and it shows. Thick chugs paired with uplifting lyrics—ironically similar to early Christian hardcore—simply fall flat. However, the effort is apparent—like in the Spanish spoken, “Mi Amor.” The vision is there, but is outweighed by bland guitars, awkward falsettos and an all-around “side project” feel. —Andy Mesecher

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

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Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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Kongos

Andrew Mack

Contact: mgmt@kongos.com Web: kongos.com Seeking: Label, US Booking, Distribution Style: Rock Alternative Username: Kongos

Contact: andrewmackmusic@gmail.com Web: facebook.com/andrewmackmusic Seeking: Management, Label, Booking Style: Pop Username: andrewmack

From AZ by way of So. Africa, the Kongo bros. offer something fresh and powerful. Their "I'm Only Joking" incorporates giant-sounding, neo-native drum beats, gang-force vocals and brittle, red-zone sonics on a catchy tune that was a radio hit back home. The infectious "Come With Me Now" adds novel instrumentation (including accordian) to their unique formula, while "Escape" shops the band's sunny, lilting side. No question these musical siblings have forged a visceral brand of poprock that's both different and instantly appealing. Check 'em out.

Mack is a quality player, based in Florida, and his songs, including "New Rose" and "Asking Me Why" explore relationships with a familiar, commercial appeal that's tailored to the ladies. Though his voice is not distinctive, it doubles quite well and is a good vehicle for his heartfelt pleas. Arrangements are first class, with assorted guitar, piano and strings. His soulfully apologetic "Skin," with its big, church-like chorus, is our hit pick. Mack's tunes are commercially viable, and we can easily imagine his work being heard in a chick-flick setting.

Production Lyrics Music Vocals Musicianship

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Backhouse Lily

Kaitlin Dibble

Contact: backhouselily@gmail.com Web: backhouselily.com Seeking: Film/TV, Festivals Style: Ambient/Instrumental Username: backhouselily@gmail.com

Contact: kaitlindibble@gmail.com Web: kaitlindibble.com Seeking: Reviews, Booking, Label Style: Alt/Americana Username: Kaitlin dibble

Heavily rhythmic, with jazz-funk undertones, this Vegas-based duo (a bassist and drummer) deliver shadowy themes in deep, wide space. "Dark Harmonic" is catchy enough and builds drama as it swells and subsides with a remarkably tight snap to the drumming. Sporting a Pink Floyd DNA, "Discoma" kicks up the pace with a propulsive bassline and an effected guitar that recalls Adrian Belew. A truly gnarly tone explodes from the laidback "Under the Radar." Action flicks and videogames seem ripe for this stuff.

You can tell when a singer-songwriter knows of what she sings, as in Dibble's whiskey-and-cocaine-fueled "Live Nude Girls." Drawing upon her experience as a stripper, the artist renders the story with an insider's eye. A drawback here—one that pervades her work—is a tendency to force too many words into her songs. Dibble's best moment is "Let The Heat Soak In," a bluesy duet with Melvern Taylor that gels with its supple B3 and tremolo guitar backdrop. Perhaps further collaboration will help bring this performer to the next level.

Production Lyrics Music Vocals Musicianship

8 7 7 9 7

Leon Waldo

Nimrod Wildfire

Contact: fyvemgmt@hotmail.com Web: leonwaldo.com Seeking: Label Style: Pop/Soul Username: leonwaldo

Contact: rmiller@villamilla.com Web: villamilla.com Seeking: Collaborations, Remain Indie Style: Pop Username: nimrodwildfire

Texas pianoman Leon Waldo is a strong example of an artist whose superior instincts are undermined by poor production. "Lullaby" has an old-school ballad feel, but could use a falsetto lift to drive the finale home. "Better Days" is a sweet love song with an abiding optimism, and it shows the artist can deliver a low range if needed. Waldo's high-range capability and gift for dynamics is on exhibit in "All We Need Is Love." What he's done with limited means is impressive. We wonder how good these tunes might be if produced by a skilled hand.

Band leader Bob Miller is an engaging storyteller, and he captures a vintagetoned Warren Zevon vibe in "707," recounting a wild, martini-fueled plane ride. Love the uniquely circustwang guitar in the solo. A bluesier feel propels the sardonic "Corporate Refuge," about the adverse effects of selling one's soul. The thoughtprovoking, if repetitive, "Guts" shows Miller at his most philosophic and, as in the other tunes here, there's plenty of room for his seasoned players to stretch and show what they can do. No doubt an entertaining live act.

Production Lyrics Music Vocals Musicianship

8 8 7 7 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. 54 April 2013

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Production Lyrics Music Vocals Musicianship

7 7 7 8 8

Halfway

PINWHEEL

Contact: mday.starmaker@gmail.com Web: halfwayband.com Seeking: Distribution, Mgmt, Booking Style: Alternative Rock Username: halfway

Contact: pinwheelband@gmail.com Web: pinwheelband.com Seeking: Film/TV, Label, Mgmt, Booking Style: Hard Rock Username: pinwheelband

While Halfway shines on a cover of Chris Isaak's "Wicked Game," lending the song a heavier, rocking vibe, the band has a hard time fusing its heavy instincts with the softest of vocal pop, as on "The Bird." "10:30" has a big, ballsy intro, a pretty good chorus, too, but the overall recording (even with inspired "Whoahhs!") is handicapped by tame, thin drums and dryly recorded vocals. "The Minx" delivers a leering sexcapade without much flair. There's clearly a solid foundation here, but this young band will need to keep working.

The first thing that strikes us about Pinwheel is that anguished vocalist Ben Brock has chops. The second thing is that the band is mired in an early 2000's vision, a la Tool, Staind and others. Though tight and muscular, the band tends to sound too similar from song to song, both sonically and lyrically. Sinewy bass lines carry each number, supported by a raft of guitar riffage, canned drums and tales of torment. It's good enugh for horror-flick soundtracks, but Pinwheel's talent and skill could use a savvy producer.

Production Lyrics Music Vocals Musicianship

7 7 7 9 7

Imiuswi Aborigine

Kiss The Gunner’s Daughter

Contact: imiuswi@gmail.com Web: imiuswi.com Seeking: Booking, Film/TV Style: Hip-Hop Username: imiuswi

Contact: ktgd.music@gmail.com Web: ktgdmusic.com Seeking: Label, Distribution Style: Hard Rock Username: KTGD

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

8 6 7 7 8

8 6 7 7 8

KTGD come out screaming on "Message from Roslyn" with a lurching, Alice In Chains vocal push, sturdy drumming and powerful riffing. Fleet fretwork on the sex-rock guitar solo adds some glow. "Still Here" emits a more precise, muscular brand of riffage, though the song's lyrics often dip into cliche. "Paralyzed" comes off like a perfect WWE theme song, complete with its "lucky to be alive" message. The band have followed a well-pawed blueprint; now they need to decide if that's gonna be enough.

Production Lyrics Music Vocals Musicianship

6 8 7 7 8

Organic, female-fronted collective avoids the bling-and-boast formula for a higher consciousness product. "Mash" brings a heavy funk/psych groove amalgam with a fierce lyric delivery and trippy electric guitar. "Fluctuation" adds an idyllic cello to the mix, while "Hip-Hop Hooray" benefits from rich organ parts. The result, in fact, is not unlike Rage Against the Machine. Our main beef: an artist with a timely message must communicate clearly, and these muddy, word-heavy recordings are simply not getting it done.

Richard Kincaid

Seraphim Ward

Contact: info@luckmedia.com Web: richardkincaidmusic.com Seeking: Label, Booking, Film/TV, Licensing Style: A/C Username: RKincaid

Contact: eileen@eileenkoch.com Web: seraphimward.com Seeking: Label, Booking, Film/TV Style: Occult/Alt/Industrial Rock Username: seraphimward

Kincaid and his songwriter-producer aim straight for the A/C realm, employing the performer's abiding optimism, his pied-piper nature, on the inspirational (if borderline cheesy) "Wonderful Day." Though not gifted with a powerful voice, Kincaid gets quality support from the likes of Dave Koz, who adds sax to the wistful, soul-baring "I Wish It Was Me." The strongest outing is the soulful rendition of the classic "Ain't No Sunshine" where, with jazzy guitar fills and additional instrumentation, the performer makes the song his own.

Production Lyrics Music Vocals Musicianship

6 7 8 7 7

Ward's recordings are a case of superior musical instincts torpedoed by poor production. "Still" exhibits very nice songcraft—the chorus is solid, the bridge is nice, the guitar atmospherics are a perfect touch. It's too bad the kick drum is a piercing presence, overshadowing her vocal. Same with "Bad Behavior"—solid song, poor mix. Ward muses on the nature of love and hate on "What's The Color of Love." Here's an artist who would benefit from a much surer hand behind the board.

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/amp and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. April 2013

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LIVE REVIEWS

THE ROXY THEATRE West Hollywood, CA Contact: Eugene Rice, 310-418-3557, bansheebonesmusi@gmail.com Web: http://facebook.com/bansheebonesmusic The Players: Eugene Rice, vocals; Joe Perez, lead guitar; Salem Romo, bass; Ryan Rice, drums. Username: bansheebonesmusic@gmail.com Material: Banshee Bones provide a fascinating adventure with each song. The band often give glimpses of a world similar to that of Rush, perhaps mainly due to the vocal range, but also with regard to the dramatic elements employed, and multi-themed songs. In tracks like “One of a Kind” one can’t help thinking a bit of Geddy Lee, but with an attempt to paint a specifically dark or demonic picture. There is a common theme of dramatic fantasy with a consistent lean toward the dark arts or “devilish” side of things. Alice in Chains comes to mind if just for a moment in “Creep N Crawl.” Each song seems to have several “movements” and struggles to claim a firm identity

or memorable hook. Lyrically, there is little that seems original or deep, although the attitude and intensity of the sound urges to be taken seriously. By simplifying some of the songs, and writing more casual, relatable lyrics, the tracks could have more appeal to the outside observer. Musicianship: Lead singer and frontman Eugene Rice shows incredible potential and eventual star power. The high precision and clarity of diction allows for the comparisons previously mentioned to the likes of Geddy Lee and Layne Staley. Lead guitarist Joe Perez also shows some potential with melodic solos, and does an adequate job of holding rhythm parts in line. Tightening-up the rhythm section, however, could go a long way toward making the music more powerful. Bassist Salem Rolo and drummer Ryan Rice show skill with their instruments, but as a unit there are too many moments of chaos. They all seem well enough rehearsed, but allow their emotion perhaps to lead them out of synch with one another on some of the more intense excursions.

TIM REID

BANSHEE BONES Performance: Banshee Bones began their set with beaked masks and attempted to set a tone of bizarre melodrama. By the second song, the masks were off, and Rice gradually peeled layers until shirtless, revealing his holstered-gun tattoo. There was a raw, exciting energy that, for a moment, was stimulating, then crossed the line into silly and a little sloppy. The passion and care for presenting a rock & roll image was clear, but every member of the band has some room before they can command a magnetic and relatable presence.

Summary: Banshee Bones go to some lengths to put on an entertaining show, set a mood and take the listener on a multi-faceted journey, but the current result is chaotic and lacking a firm identity. With some focus on writing strong hooks, simplifying the songs, and tightening up the more intense moments, the band could attract more hungry fans. –Tim Reid, Jr.

THE KEY CLUB West Hollywood, CA

Material: Any lover of Led Zeppelin would likely appreciate Barbarian Overlords, or at least find their material extremely familiar. Each song seems to have been written as if for an ad agency looking for a Zeppelin “sound” but needing to stay away from infringing directly on the copyrights. The set's climax, a cover of Zeppelin’s “Heartbreaker,” makes it impossible not to see the direct influence, and also demonstrates the subtle difference between good and great songwriting. Musicianship: All members of Barbarian Overlords appear experienced and display a firm rock & roll presence. If singer Brent Nuffer has the disadvantage of sounding similar to one of rock's most recognized singers in Robert Plant, his voice and confidence are nevertheless strong. Nuffer is an impressive vocal musician to say the least. Improvements, however, could me made in his falsettos and overall clarity, as it is almost impossible to understand any of the lyrics. Guitarist Joe Spadaro, while demonstrating a pronounced Jimmy Page influence, is an able technician, as 56 April 2013

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BARBARIAN OVERLORDS

is the rest of the band. A particularly innovative moment, and agile musicianship, occurs in “The Harvester” as a repetitive rhythmic pattern is introduced and then reprised throughout the song, challenging the entire musical unit to perform at an impressive level.

created a consistent downside, though, as Nuffer was often difficult to understand. The frontman spoke very quickly and failed to achieve a real connection with the intensely packed crowd, many of whom seemed confused when he was speaking.

Performance: These guys are comfortable on a big stage and they demonstrated a seasoned ability to entertain. With some good dynamic elements peppered into the set—especially in the song “Running Scared” which contained some nice space throughout—the overall presentation was top-notch. The moments of banter in between songs

Summary: Barbarian Overlords are best described as a band highly influenced by Led Zeppelin, and extremely adept at providing an entertaining experience within that style and sound. This is a quality group of rockers who know how to deliver a fun show to anyone who likes to hang at the intersection of blues and heavy metal. –Tim Reid, Jr.

TIM REID

Contact: Eileen Koch, 310-441-1000, eileen@eileenkoch.com Web: http://barbarianoverlords.com The Players: Brent A. Nuffer, vocals; Joe Spadaro, guitar; GK Via, bass; Brandon Kachel, drums. Username: barbarianoverlords

legitimate manner. Matle is, simply, a guitarist’s guitarist. He specializes in a seven-string guitar and is, primarily, a finger style player. Eschewing a plectrum, he is able to have full use of his hands for odd chord substitutions, bass line accompaniment and greater speed. Pangborn is more than up to the task of supporting their diverse song list, with just the right amount of subtlety, swing and groove.

SHEILA LANDIS & RICK MATLE GIZZMOS BISTRO & BAR Wyandotte, MI Contact: Sheila Landis, slandis9@juno.com; Rick Matle, fretrick1@gmail.com Web: http://sheilalandis.com The Players: Sheila Landis, vocals, percussion, kazoo; Rick Matle, guitar, bass loops; Ron Pangborn, drums. Username: slandis9@juno.com Material: Expect the unexpected when you take in this group. Their originals are jazz and blues based, with an equally strong suit being their eclectic mix of rock, R&B, country, classic standards and pop. Within the duration of three sets the audience is treated to re-harmonized

ERIC HARABADIAN

Performance: Landis was like a force of nature. She would be crooning a lush and cool love ballad one minute and then jump into some feverish rock or up-tempo funk the next. Her integration of tambourine, cowbell, guiro and shakers also added denseness and weight to the overall rhythmic foundation. Matle’s strong suit was pulling harmonic nuances, percussion sounds and assorted effects out of his guitar. His ample skill set especially came into play and reworked versions of everything from Carole on extended jams like Grover Washington’s “Mr. Magic” and Hendrix’s “Foxy Lady.” For a King and Carlos Santana to Hank Williams Jr., seemingly paired down three-piece they packed Van Morrison, Nancy Sinatra, Jimi Hendrix and a large and mighty punch. Steely Dan. They even dig back into the Great American Songbook grab-bag for Rodgers & Hart’s “My Funny Valentine” and Sammy Cahn’s Summary: It is obvious that Landis and Matle have been working together a considerable “Teach Me Tonight.” amount of time and have their presentation down to a science. But it was far from pedestrian Musicianship: Landis and Matle are unor boring. They are a well-oiled and seasoned questionable masters at their craft, and the addition of veteran drummer Pangborn locks the machine that knows what the crowd wants and how to tailor sets to give it to them. However, grooves in tight. Landis’ gift is her ability to shift what makes this group special is their sense of in an effortless fashion from wordless vocalese experimentation and devil-may-care. You will to multi-octave filigree and back again. She is find yourself on the edge of your seat and loving also quite adept at hand percussion and can every minute of it. –Eric A. Harabadian mimic woodwind and various horn sounds in a

THE ROXY THEATRE West Hollywood, CA

Material: A John Williams Superman/Indiana Jones medley played over the house speakers as the lights glowed a Kryptonian Council neon blue just before the curtains parted to reveal Black Belt KARATE. The band were certainly undersold as the night’s opening act, packing the house at a surprisingly early hour for a weekday show, with the audience staying locked in for the duration. While several of the songs in the live set are still in development the composition is tight. For example, the tentatively titled “Rigamortis” is the standout single of the show. The emphasis on the “r” and “l” sounds in the lyrics creates a catchy syncopation, “Sets me on fire, she’s got this body, fuels my desire. She makes my blood run, my temperature boil, some days I love her, some days I recoil.” The chorus catchphrase typically indicative of song title, “You’re A Natural,” has something of an Allman Brothers, “Whipping Post” feel about it. Musicianship: Double Marshalls for both guitar and bass makes for a nice, meaty sound, just heart throbbing enough. The drums tend to be overpowering, most likely due to the microphone placement on the bass drum. The vocals seem low under this foundation. Despite this the band make up for it through the dynamics of

BLACK BELT KARATE their song compositions. Some of the fantastic guitar riffs and drum patterns on “Rigamortis” are reminiscent of Soundgarden and Living Colour. Performance: Hanifl could add a little more aggression to his vocal, being just on the cusp of Chris Robinson and Mick Jagger. While all band members supported by singing backup, the Keith Richard style guitar riffs on some of the songs did lend themselves to the feeling this band would benefit from the oomph of their own Tina Turner styled backup vocals.

STEPHANIE PICK

Contact: Jason Mezilis, BBKofficial@gmail.com Web: https://facebook.com/ BLaCkBeLtKARATE The Players: Ryan Hanifl, lead vocalist; Ryan Brown, drums; Harry Ostrem, bass; Jason Achilles Mezilis, guitarist. Username: phatelvis

Summary: Black Belt KARATE have great potential, as Hanifl and Mezilis are the lead writers with experience in production and engineering. There is a new sound here that wants to gel. Maybe voodoo rock is the best description; tribal world metal meets psychedelic southern rock or as the band claims, “desert rock” with “Clint Eastwood grit.” As the band develops more material they may hone a more synthesized style, but as it stands Black Belt KARATE put on a good show, pulling all the standard punches. –Brooke Trout

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THE MIDDLE EAST Cambridge, MA Contact: sasha.alcott@gmail.com, chris.m.viner@gmail.com Web: http://whenparticlescollide.com The Players: Sasha Alcott, guitar, vocals; Chris Viner, drums. Username: whenparticlescollide

Performance: Although she seems unaware of it, Alcott’s tart yet bubbly personality was deployed effectively as she cracked jokes and bounded about the stage. Regretfully, her movements were limited due to the curious choice to wear high heels. Viner placed his skin pounding skills on display during an abbreviated solo, but he deferred the hefty task of relating to the audience and providing visual stimulus to his partner. Neither branding nor any allusion to the group itself was incorporated into their set. Summary: This unscientific experiment proves that a musical pair, when as tightly linked as a proton bound to an electron, can generate a luminously positive charge. Yet the nucleus quickly decays absent the variety necessary to sustain one’s interest. This could be accomplished by the addition of another player, although this would permanently alter the group’s chemical makeup. WPC sound best when lasered in on cosmically rhythmic, danceable passages, so they could expand upon that dynamic, or they might try incorporating entirely novel styles to beef up their diversity. Either way, they need to conclude their set in a more dramatic fashion if they wish to generate more enthusiastic peer reviews. –Andy Kaufmann

58 April 2013

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WHEN PARTICLES COLLIDE

AQNDY KAUFMANN

Musicianship: Guitarist Sasha Alcott doesn’t push her Gretsch to uncommon heights. Rather, she seems content letting her axe play second fiddle to Chris Viner’s monstrous drumming, which ranges from polyrhythmic grooviness to heavy metal mashing. Meanwhile, taking apparent inspiration from rock & roll sirens like Joan Jett and Courtney Love, Alcott’s fiery vocals set the roof ablaze.

!!!!!

Material: With this electrically charged duo from Bangor, ME, buzzy guitar provides a sub-harmonic backdrop that’s nearly drowned by a relentless avalanche of drums as primal lyrics recall the romantic, innocent charm of earnest punk. Think Pixies or Sleater-Kinney stripped down to an intimate pairing with a lopsided emphasis on percussion. The invigorating result refreshes, yet quickly wears thin.

JANET LABELLE

COREY IRWIN

totally comfortable behind the mic. Blessed with a large vocal range, she’s in complete control––dialing down to hushed tones at some points, belting to the back of the room at others. She seamlessly moves between guitar, ukulele and piano. The latter is only incorporated in one song, “Goodbye, Baby,” however it shines through so well that one can’t help but wonder why she doesn’t utilize it more. Kudos also go to her backing band for providing a solid foundation for the songs. Evan Taylor keeps tight grooves on the drums, Kyle Cadena delivers memorable guitar riffs and Andrew Kimball maintains a more than serviceable bass line.

Contact: info@janetlabelle.com Web: http://janetlabelle.com The Players: Janet LaBelle, vocals, guitar, piano, ukulele; Kyle Cadena, guitar; Andrew Kimball, bass; Evan Taylor, drums. Username: Janet LaBelle

list of like-minded, talented acts such as Best Coast and She & Him. Songs like “Losing All The Way” showcase LaBelle’s ability to craft upbeat, instantly catchy choruses. “I Only See You” and “Goodbye, Baby” reflect a softer, more introspective side. These tunes have enough mass appeal to gain airplay on Triple A radio, while maintaining the requisite indie cred to fit in perfectly on NPR.

Material: Weaving together indie rock and surf pop, Janet LaBelle adds her name to a growing

Musicianship: A multi-instrumentalist who’s been performing since age 7, LaBelle appears

HOTEL CAFE Hollywood, CA

Performance: There’s no denying that LaBelle is the star here. From the moment she took the stage, her girl-next-door charm won over everyone in the crowd. Looking like one part Zooey Deschanel and one part June Carter, she masterfully crooned from each tune to the next. Her personality really shone through on “Honey Song,” as the singer strutted under the spotlight with a rockabilly swagger. The rest of the band left the stage for the final two songs of the set, as LaBelle performed “You Don’t Get It So Forget It” and “I Only See You” armed with nothing but her voice and a ukulele. The result sounded sweet and sincere; a singer earnestly opening her heart to a room filled with listeners. Summary: Blessed with memorable songs and charisma to spare, the sky’s the limit for Janet LaBelle. Her style and subject matter seem readymade for licensing, most likely in a romantic comedy film. Meanwhile, she’s working on her debut full-length album, with hopes to release it later this year. –Corey Irwin

EL REY THEATRE Los Angeles, CA Contact: nik@ballinpr.com, 323-334-6917 Web: http://latyrxauthentic.com The Players: Lyrics Born and Lateef the Truth Speaker Username: Latyrx

Musicianship: Lyrics Born maneuvers his rhymes in a flow that keeps listeners attuned to the message that he and his equally topical counterpart, Lateef the Truth Speaker, are conveying. Songs like “It’s Time,” featuring Amp Live from Zion I, and classics like “Burning Hot in Cali” are favorites that the duo’s die-hard fans yearn for. On the downside, though Latyrx have been rocking numerous stages internationally since the mid-‘90s and they make an effort to engage the crowd, their stage presence is somehow not as exhilarating as it could be. Performance: Backed by a drummer and a DJ, Latyrx delivered an enthusiastic set of originals

LATYRX to a somewhat reserved audience. Although at times it seemed that Latyrx’s interaction with the crowd was slightly negligible, the vibe they shared with their bandmates was outstanding. These players seemed to be having a good time throughout the entire set. After performing songs that they’ve recorded over the past 15 years, Latyrx ended by telling the audience to have fun and to remember to leave as one.

Danny Seyum

Material: Latyrx’s music represents a mystical mix of boom-bap raps and funky, experimental rhythms that, when spearheaded by topical issues, aims to lead listeners on a path of progression. Their tunes run parallel to the likes of Dilated Peoples, Company Flow and De La Soul. Songs such as “Gorgeous Spirits (Aye, Let's Go!)” melodically render a party vibe with commercial appeal, while “Call to Arms” signifies the injustice of the disenfranchised, calling upon citizens to fight for their freedom. Latyrx keeps the flame burning on the underground rap scene as they continue to represent as pillars for Northern California hip-hop music.

Summary: Latyrx are a group that approach hip-hop with an avant-garde perspective. They’ve cultivated a cult following since 1996, supporters who enjoy their hip-hop/alternative/ jazz infused music. While Latyrx have yet to cross over into the commercial sector, they have continued to gain respect as a progressiveminded underground hip-hop act. –Adam Seyum

April 2013

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22 Annual Directory of nd

Download This Directory From Our Website

Guitar/Bass

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Instructors & Services

Download This Directory From Our Website: www.musicconnection.com/amp

Compiled By Denise Coso

T

he day a musician stops learning is the day his/her music stops progressing. This national directory will help you find the right instructor or repair person to take your dexterity, knowledge, tone and technique to the next level. Guitar Instructors & Services

Nationwide

GUITAR CENTER Web: www.guitarcenter.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles *Check web for the nearest location PLAY JAZZ GUITAR Web: www.playjazzguitar.com Basic Rate: see website for info

Arizona

ARIZONA MUSIC ACADEMY 1700 E. Elliot Rd. Ste. 11 Tempe, AZ 85284 480-705-0875 Web: www.arizonamusicacademy.com TONAL CENTER GUITAR INSTRUCTION 1051 W. University Dr. Tempe, AZ 85281 480-894-3346 E-mail: kurt@tonalcenter.com Web: www.tonalcenter.com Basic Rate: $20-25 per half hour

California

AARON WOLFSON Los Angeles, CA 323-650-9400 E-mail: aaronwolfson@aol.com Web: www.aaronwolfson.com Contact: Aaron Basic Rate: $150 Styles/Specialties: All styles. Learn what you want to know. Guitar, bass, piano, songwriting, music theory for all instruments; including vocals. ADAM’S MUSIC 10612 W. Pico Blvd. Los Angeles, CA 90064 310-839-3575 E-mail: info@adamsmusic.com Web: www.adamsmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles AGOURA MUSIC 5160 Kanan Rd. Agoura Hills, CA 91301 866-754-2671 E-mail: AgouraMusicRocks@ yahoo.com Web: www.agouramusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles 60 April 2013

ALHAMBRA SCHOOL OF MUSIC 226 E. Main St. Alhambra, CA 91801 626-282-1400 E-mail: alhschoolmusic@yahoo.com Web: www Alhambraschoolof music.com Basic Rate: call for info Clients: all levels ALMIGHTY GUITAR PLANET 1822 E. Main St. Ventura, CA 93001 805-648-4633 Web: www.guitarplanet.us Basic Rate: call for info Clients: all levels Styles/Specialties: all styles ALTA LOMA MUSIC 8615 Baseline Rd. Rancho Cucamonga, CA 91730 909-989-5757 Web: www.altalomamusic.com Basic Rate: call for info Additional location: 650 E Parkridge, #115 Corona, CA 92879 951-735-5924 AMUSE 43-C Peninsula Center Palos Verdes, CA 90274 310-377-7838 E-mail: chris@amusemusic.com Web: www.amusemusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles ANAHEIM HILLS GUITAR AND BASS LESSONS 300 S. Blackberry Ln. Anaheim, CA 92808 714-457-4342 E-mail: foelsch@sbcglobal.net Contact: Keith Foelsch Basic Rate: $20/half-hr., $30/hr. Clients: From beginners to top pros Styles/Specialties: I regularly perform in arenas and concert clubs with top national acts. I teach all styles. Learn how to play chords and solos in any key, or how to make up bass parts easily, so you can record and perform with all types of bands. ANDY BRAUER SERVICE COMPANY 5527 Cahuenga Blvd. N. Hollywood, CA 91601 818-631-3777

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Contacts: Andy Brauer, Monique Caravello E-mail: guruguitarspa@gmail.com Web: www.facebook.com/ andybrauerguitar, www.myspace. com/andybrauer Basic rate: $85/hour ARCADIA MUSIC CENTER 1270 S. Baldwin Ave. Arcadia, CA 91007 626-821-0482 Fax 626-447-8650 E-mail: info@arcadia-music.com Web: www.arcadia-music.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles ARROW MUSIC CENTER 4317 Tweedy Blvd. South Gate, CA 90280 323-569-5700 E-mail: rosa@arrowmusic.com Web: www.arrowmusic.com Clients: all levels Styles/Specialties: all styles Basic Rate: call for info BANANAS AT LARGE 1504 4th St. San Rafael, CA 94901 888-900-1959 Web: www.bananasmusic.com Basic Rate: call or check website for info BARKER’S MUSIC 519 McHenry Ave. Modesto, CA 95354 209-526-0347 E-mail: kyle@barkersmusic.com, lonney@barkersmusic.com Web: www.barkersmusic.com Basic Rate: call for info BASS EXCHANGE/GUITAR BASS PRO/AMP-SHOP 13701 Ventura Blvd. Sherman Oaks, CA 91423 818-386-5500 E-mail: info@bassexchange.com Web: www.bassexchange.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles BAXTER/NORTHUP MUSIC 14534 Ventura Blvd. Sherman Oaks, CA 91403 818-788-7510 E-mail: baxternorthup music@gmail.com Web: http://baxternorthup.tumblr.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

B. HEFNER COMPANY 11701 3/4 Washington Blvd. Whittier, CA 90606 562-945-9490 E-mail: bhefnerco@clear.com Web: http://www.bhefner.com Services: Along with building Fender licensed replacement parts necks and bodies, B. Hefner Company also manufactures custom guitars, guitar parts and guitar bridges for more than a dozen of America’s finest guitar companies, wholesalers and countless custom builders. Fender, Kramer, Gibson, Epiphone, Dean, Steinburger, Travis Bean are but a few of the companies we are making parts for, the list goes on. Over 28 years experience, 100% satisfaction. BILLY BURKE 123 E. Montecito Ave. “C” Sierra Madre, CA 91024 626-622-6123 E-mail: billy@lovelessmotel.com Web: www.lovelessmotel.com Basic Rate: call for info BOULEVARD MUSIC 4316 Sepulveda Blvd. Culver City, CA 90230 310-398-2583 Web: www.boulevardmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles BURBANK GUITAR STUDIO 425 Dartmouth Rd. Burbank, CA 818-848-4866, 818-842-9437 E-mail: burbankguitar@sbcglobal.net Web: www.burbankguitarstudio. com Basic Rate: call for info CALIFORNIA VINTAGE GUITAR AND AMP 5244 Van Nuys Blvd. Sherman Oaks, CA 91401 818-789-8884 Fax 818-789-8827 Web: www.californiavintage guitarandamp.com E-mail: sales@ californiavintageguitarandamp.com Specialties: We sell top of the line new and vintage guitars and amps including Fender, Gibson, Gretch, Martin, Guild, National Resophonic and Eastman dealers. We have been actively dealing in vintage

Download This Directory From Our Website and professional quality guitars, amplifiers and other stringed instruments in the Southern California area since 1968, and pride ourselves on being a guitar show and not a big store. CANOGA SCHOOL OF MUSIC 7361 Canoga Ave. Canoga Park, CA 91303 818-340-4021 Contact: Ted Kraut E-mail: ted@canoga schoolofmusic.com Web: www.canogaschoolofmusic.com Basic Rate: call for info CASSELL’S MUSIC 901 N. Maclay Ave. San Fernando, CA 91340 818-365-9247, 661-297-5544 E-mail: cassells@cassellsmusic.com Web: www.cassellsmusic.com Basic Rate: call for info CHARLES MUSIC CENTER 421 N. Glendale Ave. Glendale, CA 91206 818-242-6597, 323-245-3096 Fax 818-242-1214 E-mail: inquiries@ charlesmusicstore.com Web: www.charlesmusicstore.com Basic Rate: call for info COAST MUSIC 24002 Via Fabricante, Ste. 308 Mission Viejo, CA 92691 949-768-8783 Web: www.coastbandmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles, additional location in San Clemente Additional locations: 4970 Irvine Blvd. #109 Irvine, CA 92630 714-731-3415 San Clemente, CA 949-498-6102 CRAIG BECK Santa Clarita, CA 661-296-8685 Web: www.getlessonsnow.com/ craigbeck Basic Rate: call for info Clients: all levels Styles/Specialties: all styles Notes: lessons customized to your needs and recorded on CD CULVER CITY MUSIC CENTER 10862 Washington Blvd. Culver City, CA 90230 310-202-6874 Web: www.santamonicamusic.com Basic Rate: call for info House Calls: yes DANA GONZALES 1412 E. Maple St. #A Glendale, CA 91205 323-841-8055 E-mail: ledgemusic@yahoo.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

DAWN BLASCO 3452 Elm Ave., Ste. 104 Long Beach, CA 90807 562-426-6695 E-mail: dawn@segoviaplayers.com Web: www.segoviaplayers.com Basic Rate: call for info Clients: all levels Styles/Specialties: classical, flamenco, jazz, theory DIETZ BROS. MUSIC 240 S. Sepulveda Blvd. Manhattan Beach, CA 90266 310-379-6799 E-mail: john@dietzbrothersmusic. com Web: www.dietzbrothersmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles ERIC’S GUITAR SHOP 8101 Orion Ave. #21 Van Nuys, CA 91406 818-780-7191 E-mail: Ericsguitarshop@att.net Web: www.ericsguitarshop.com Contact: Eric Basic Rate: call for rates Clients: Foo Fighters, Joe Walsh, John Mayer, Red Hot Chili Peppers, Hutch Hutchinson, Dave Matthews, Beck and many others. Services: Top quality electric and acoustic guitar and bass repair, modification and custom guitar building. Fender authorized repair service. Over 20 years of service in the same location. FAUNT SCHOOL OF CREATIVE MUSIC Los Angeles, CA 818-506-6873 E-mail: musicalkills@gmail.com Web: www.musicalskills.com Basic Rate: see web Clients: All levels. Forty percent of students already professional, many quite accomplished. Serious beginner and intermediate students also welcome. Styles/Specialties: method taught one-on-one, specializing in piano, guitar and bass, and applying to any style, for greatly increasing the “musician skills” and knowledge typically not or poorly addressed in music lessons or classes. FRET HOUSE, THE 309 N. Citrus Ave. Covina, CA 91723 626-339-7020 800-BET-FRET Web: www.frethouse.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles FULLERTON MUSIC CENTER 121 N. Harbor Blvd. Fullerton, CA 92832 714-871-1805 E-mail: info@mosfullertonmusic.com Web: www.mosfullertonmusic.com Basic Rate: call for info Level: all Styles/Specialties: all styles Notes: Full line music store.

www.musicconnection.com/amp GEOFFREY MCCABE 6104 Glen Oak Hollywood, CA 90068 323-464-1895, 323-819-0100 E-mail: merkaba22@sbcglobal.net Web: www.myspace.com/ geoffreymccabe Basic Rate: call for info Clients: all levels Styles/Specialties: high-energy, modern rock, blues, alt., jazz, fusion, progressive, acoustic, electric Notes: Recorded, wrote and produced two award-winning instrumental albums, toured Europe including Montreux Jazz Festival featured on www. attentionspanradio.net, second release, Fractal Architecture, available on iTunes. GEORGE FOSTER Hollywood/N. Hollywood/ Sherman Oaks, CA 818-505-0840 E-mail: georgefosterband@ hotmail.com Web: www.myspace.com/ georgefosterband Basic Rate: $55/$65/hr.- in home Clients: all levels, kids and beginners Styles/Specialties: blues, rock & jazz Notes: Performance degree from Berklee College of music. House calls. GERARD’S GUITARS 19641 Ventura Blvd. Tarzana, CA 91356 818-344-8482 E-mail: sulc@wgn.net Web: www.gerardsguitars.com Clients: All Ages Styles and Levels Basic Rate: call for info GILMORE MUSIC 1935 E. 7th St. Long Beach, CA 90813 562-599-1369 E-mail: lbgilmoremusic@yahoo.com Web: www.gilmoremusicstore.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles GO FAR GUITAR SCHOOL 22028 Ventura Blvd., Ste. 101 Woodland Hills, CA 91364 818-704-5777, SKYPE E-mail: gofarguitar@aol.com Web: www.gofarguitar.net Basic Rate: call for info Styles/Specialties: Combined Contemporary & Classical *Note: 28 years experience, taught over 1,700 students, including Michael Einziger of Incubus GRAYSON’S TUNE TOWN 2415 Honolulu Ave. Montrose, CA 91020 818-249-0993 E-mail: graysonstunetown@ sbcglobal.net Web: www.graysonstunetown.com Basic Rate: Check website for rates and Teachers Bios Clients: all levels Styles/Specialties: all styles

GUITAR ALLEY 11701 3/4 Washington Blvd. Whittier, CA 90606 562-945-9490 E-mail: bhefnerco@clear.com Services: Guitar Alley is the premier Hot Rod Shop just for your guitar. We carry a full inventory of bodies, necks, miscellaneous guitar parts and accessories. Our repair shop is second to none. Being a manufacturer we have the highest rating among all guitar companies when it comes to warranty work. Call for any of your guitar repair needs. Over 28 years experience, 100% satisfaction. GUITAR GALLERY 18416 Ventura Blvd, Tarzana, CA 91356 818-578-3262 E-mail: info@laguitarlesson.com Web: www.laguitarlesson.com Basic Rate: call for info Clients: all levels Styles/Specialties: classical, flamenco, pop GUITAR MERCHANT, THE 7503 Topanga Canyon Blvd. Canoga Park, CA 91303 818-884-5905 E-mail: theguitar merchant@yahoo.com Web: www.guitarmerchant.com Basic Rate: call for info Clients: beginners to advanced Styles/Specialties: All styles GUITAR SCHOOL 1712 Pacific Coast Hwy. Redondo Beach, CA 90277 310-540-6767 E-mail: mrfrets@aol.com Web: www.theguitarschool.com Basic Rate: call for rates Clients: all levels, all ages Styles/Specialties: all styles Additional locations: 31244 Palos Verdes Dr. W., Ste. 205 RPV, CA 90275 310-377-2600 3840 Woodruff Ave., Ste. 109 Long Beach, CA 90808 562-627-0464 HAL OPPENHEIM Sherman Oaks, CA 818-784-2307 Web: www.imdb.com/name/ nm2373968, www.reverbnation.com/ thepurplegroup Basic Rate: Call for rates Styles/Specialties: all styles including fingerpicking HAMROCK MUSIC INSTRUCTION Aliso Viejo, CA 949-230-7136 E-mail: hamrockmusic@cox.net Web: www.hamrockmusic.com Contact: Mark Hamrock

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Download This Directory From Our Website INSTRUMENTAL MUSIC 1501 Thousand Oaks Blvd. Thousand Oaks, CA 91360 805-496-3774 Web: www.instrumentalmusic.com Basic Rate: start at $30/hr. Styles/Specialties: all styles Additional locations: 3171 E. Main St. Ventura, CA 93001 805-654-9388 Basic Rate: call for info 3328 State St. Santa Barbara, CA 93105 805-569-5055 JERRY MANFREDI Mar Vista, CA 310-467-0889, 310-467-0889 E-mail: remmusic@ca.rr.com Web: http://www.facebook.com/jerry.manfredi Basic Rate: Please Call for information Clients: Beginning to Pro Styles/Specialties: All styles, guitar and bass lessons with heart. 25 years experience. JES SELANE Sherman Oaks, CA 323-251-6078 E-mail: terry@abstracttalentagency.com Web: www.selane.com Contact: Terry Mandel Styles/Specialties: rock/blues/metal/pop/jazz. Top celebrity references, 18 years teaching exp. Basic Rates: call for more info or see lesson section on website

JIM’S MUSIC CENTER 14061 Newport Ave. Tustin, CA 92780 714-669-3600, 800-644-6874 Fax 714-669-3030 E-mail: jimsmusic@usa.net Web: www.jimsmusic.com House Calls: no Clients: beginner to expert Styles/Specialties: all styles JOHN MAURICE DOYLE Green Monster Music 4543 Carpenter Ave. Studio City, CA 91607 818-377-5276 E-mail: customer_service@ greenmonstermusic.com Web: www.greenmonstermusic.com Basic Rate: call for rates Clients: all levels Styles/Specialties: all styles JOHNNY THOMPSON MUSIC 222 E. Garvey Ave. Monterey Park, CA 91755 626-280-8783 Fax 626-280-4600 E-mail: jtmusic@hotmail.com Web: www.johnnythompsonmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles JOHN TAPELLA Los Angeles, CA E-mail: john@guitarempire.com Web: www.guitarempire.com Basic Rate: please call for info Clients: Beginning to advanced

www.musicconnection.com/amp Styles/Specialties: all styles *Notes: Transcriber for line 6 Satriani, Vai, Hendrix & Vaughan, online lessons also available at: guitarempire.com. JOIN THE BAND MUSIC LESSONS STUDIO Music Lessons For All Ages Van Nuys, CA 818-345-8950 E-mail: info@jointheband.com Web: www.jointheband.com Basic Rate: call for info or see our website Clients: all levels Styles/Specialties: Private lessons on guitar, bass, drums, keyboards and voice. We have a great staff of the best music teachers and music professionals in Los Angeles. *Notes: “Where Everyone Plays.” Join the Band is in its 14th year! Our program also puts students (kids and adults) in bands and prepares them for a gig. All ages, levels and styles. Professional band coaching is also available. KASHA AMPLIFIERS, INC. 1464 Madera Rd., Ste. 332 Simi Valley, CA 93065 818-584-2299 Products: Amplifiers, effect pedals, modification systems E-mail: sales@kashaamplifiers.com Web: www.kashaamplifiers.com KAYE’S MUSIC SCENE 19369 Victory Blvd. Reseda, CA 91335 818-881-5566 E-mail: gkayesmusicscene@aol.com Web: www.kayesmusicscene.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles KIRWAN BROWN Burbank, CA 818-565-9779 E-mail: kirwanbrown@yahoo.com Web: myspace.com/kirwanbrownmusic Contact: Kirwan Rates: $30. per hr Clients: all levels Styles/Specialties: All styles: ear-training, sight-reading, groove playing, theory, technique, emphasis on getting gigs and playing well with others. KRUSE KONTROL AMPLIFICATION Sun Valley, CA 91352 818-333-6781 E-mail: info@krusekontrol.com Web: www.krusekontrol.com Basic Rate: rates determined by service type Styles/Specialties: repair/service of tube+solid state amps incl. modifications+overhaul LA HABRA MUSIC 1885 W La Habra Blvd. La Habra, CA 90631 562-694-4891 E-mail: info@lahabramusic.com Web: www.lahabramusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles Additional location: 1191 Magnolia Ave. Ste. B Corona, CA 92882 951-898-2630

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Download www.musicconnection.com/amp DownloadThis ThisDirectory Directoryat From Our Website LA MIRADA MUSIC 14928 Leffingwell Rd. La Mirada, CA 90638 562-941-4495 E-mail: lamiradamusic@gmail.com Web: http://www.facebook.com/pages/LaMirada-Music/307937841727 Basic Rate: call for info Clients: all levels Styles/Specialties: all styles LAGUNA HILLS MUSIC 23011 Moulton Pkwy., Ste. E9 Laguna Hills, CA 92653 949-830-4310 E-mail: lagunahillsmusic@yahoo.com Web: www.lagunahillsmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles L.A. MUSIC ACADEMY 370 Fair Oaks Ave. Pasadena, CA 91105 626-568-8850, 800-960-4715 (US only) E-mail: info@lamusicacademy.edu Web: www.lamusicacademy.edu LARRY LARSON MUSIC STORE 1607 W. Glenoaks Blvd. Glendale, CA 91201 818-244-7608, 818-240-1343 E-mail: leigh@larrylarsonmusicstore.com Web: www.larrylarsonmusicstore.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles LESSONSTHEROCK MUSIC LESSONS Los Angeles and Orange County, CA 562-773-0422 Web: www.lessonsthatrock.com Contact: Micah J. Mata, owner LON COHEN STUDIO RENTALS N. Hollywood, CA 818-762-1195 Fax 818-762-1196 E-mail: office@loncohen.com Web: www.loncohen.com Basic Rate: call for rates Services: We rent top of the line backline (guitars, basses, amps, keyboards and drums) which can be heard on records from Aerosmith to ZZ Top and can be seen on television from Conan to Lopez. We also offer cartage, temp. controlled storage, and world class guitar, bass and amp repair. LONG BEACH SCHOOL OF MUSIC 3840 Woodruff Ave., Ste.109 Long Beach, CA 90808 562-627-0464 Web: www.longbeachschoolofmusic.com Basic Rate: call for rates Clients: all levels, all ages Styles/Specialties: all styles Additional locations: 1710 S. Pacific Coast Hwy. Redondo Beach, CA 90277 Web: southbayschoolofmusic.com 310-540-6767 Peninsula School of Music 31244 Palos Verdes Dr. W. #205 Rancho Palos Verdes, CA Web: pvpeninsulamusic.com/index.html 310-918-0439

MARINI’S MUSIC 222 W. Main Alhambra, CA 91801 626-289-0241 E-mail: marinimusic@gmail.com Web: www.marinimusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles MARSHALL MUSIC 503 Van Ness Ave. Torrance, CA 90501 310-320-0246 E-mail: marshlmusc@aol.com Web: www.marshallmusiconline.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles McCABE’S GUITAR SHOP 3101 Pico Blvd. Santa Monica, CA 90405 310-828-4497 Fax 310-453-4962 E-mail: mccabessm@aol.com, matt@mccabes.com Web: www.mccabes.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles *Also banjo, uke, mandolin, fiddle, Appalachian (fretted) dulcimer MICHAEL T. Westside, South Bay and SFV/Hollywood, CA 310-358-3332 E-mail: michaelmusic1@yahoo.com Web: www.facebook.com/michaeltwyman Basic Rate: $20/hr. with first lesson discounted to $15. Clients: beginner & intermediate specialist, also teach beginning drums Styles/Services: all styles Notes: Nominated 2007 Best Lead Guitarist Rock/Blues (for the second year in a row) and 2007 Song Of The Year by local rock press. MONSTER GUITAR 7010 Foothill Blvd. Tujunga, CA 91042 818-951-8900 E-mail: tomrepairshop.gmail.com Web: www.monsterguitar.com Clients: All Levels / Styles Basic Rate: call for info MOORE LIVINGSTON MUSIC STORE 13009 Philadelphia St. Whittier, CA 90601 562-695-4500 Clients: all levels Styles/Specialties: all styles Basic Rate: call for info MOREY’S MUSIC STORE INC. 4834 Woodruff Ave. Lakewood, CA 90713 562-420-9532 E-mail: info@moreysmusic.com Web: www.moreysmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles MO’S MUSIC MALL 5527 Cahuenga Blvd. N. Hollywood, CA 91601 818-309-0781, SKYPE Contact: Monique Caravello E-mail: MomoMusicMall@gmail.com Web: www.moomusicmall.com

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Download This Directory From Our Website Basic rate: $85/hour for instrument servicing, $45/hour for lessons Specialties: Guitar/bass & amp servicing, repair, aging & restoration. Music lessons available via Skype or in person within the San Fernando Valley MOUNTAIN DOG MUSIC WORKS 485 N. Ventura Ave., Ste. E3 Oak View, CA 93022 806-901-1984 E-mail: mdmrecording@aol.com Contact: Tim Frantz Services: Guitar, bass, keyboards, recording, song production -- lessons are tailored to the individual MUSICIAN’S DEPOT 30839 Thousand Oaks Blvd. Westlake Village, CA 91362 818-706-3795 E-mail: musiciansdepot@sdk3.com Web: www.musiciansdepot.biz Basic Rate: call for info Styles/Specialties: all styles MUSICIANS INSTITUTE 6752 Hollywood Blvd. Hollywood, CA 90028 800-255-7529, 323-462-1384 E-mail: admissions@mi.edu Web: www.mi.edu Basic Rate: call for info Level: beginner to expert Styles/Specialties: all styles Clients: all levels Styles/Specialties: all styles, with an emphasis on live performance; classroom and/or one-on-one instruction, guest concerts and seminars MUSIC MAKER RETAIL STORE 5701 E. Santa Ana Canyon Rd. Anaheim, CA 92807 714-974-0830 Fax 714-974-0787 E-mail: info@musicmakerinc.com Web: www.musicmakerinc.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles MUSIC STORE, THE 785 Pinefalls Ave. Diamond Bar, CA 91789 909-598-1921 Web: www.atthemusicstore.com

Basic Rate: call for info Styles/Specialties: all styles MUSIC WORKS 4711 Artesia Blvd. Lawndale, CA 90260 310-379-5194 Basic Rate: call for info Clients: beginner to intermediate Styles/Specialties: all styles NEAL’S MUSIC 6908 Warner Ave. Huntington Beach, CA 92647 714-842-9965 E-mail: guitardealsinfo@aol.com Web: www.nealsmusic.com/shop Basic Rate: call for info Clients: all levels Styles/Specialties: all styles NORMAN’S RARE GUITARS 18969 Ventura Blvd. Tarzana, CA 91356 Store 818-344-8300 Web: www.normansrareguitars.com Basic Rate: $25 per 1/2 hour or $50 per hour Clients: all levels Styles/Specialties: all styles PAUL MURPHY 2535 Beverley Ave. Santa Monica, CA 90405 310-804-3581 E-mail: drmurph@hotmail.com Basic Rate: please call for info Clients: all levels Styles/Specialties: all styles Notes: B.M. degree from Berklee College of Music, USC M.M. in studio guitar, D.M.A. Jazz Studies. Serious beginners welcome. PETE’S MUSIC AND GUITAR SHOP 1742 S. Euclid Ave. Anaheim, CA 92802 714-534-7383 E-mail: guitarfish@petesmusic.com Web: www.petesmusic.com Basic Rate: lessons start at 4 classes for $59.95 (beginners) Clients: all levels Styles/Specialties: group lessons, and lessons for all styles and all levels

PRODUCER - MIXER - STUDIO 22 million records sold

# 1 Song on iTunes & Radio - A Grammy

Our Lady Peace - Kelly Clarkson Earshot - Avril Lavigne Independent artist rates rival those of entry level producers, mixers, and studios.

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SINGER MUSIC 1217 N. Hacienda Blvd. La Puente, CA 91744 626-917-9300 E-mail: singermuzik@aol.com Web: www.singermusic.com Basic Rate: call/e-mail for info

Sun City, CA 951-301-8088 Temecula, CA 951-308-1688

SOUTHERN CALIFORNIA CONSERVATORY OF MUSIC 22726 Roscoe Blvd. West Hills, CA 818-704-3819 E-mail: info@sccm.us Web: www.sccm.us Basic Rate: call for info Clients: all levels Styles/Specialties: jazz, classical Notes: special programs for the visually impaired

PJ LABINSKI Burbank, CA 323-807-1834 E-mail: pj@underthegroove.com Web: www.underthegroove.com/ home.htm Basic Rate: call for info Styles/Specialties: all styles, levels ROARK’S GUITAR INSTRUCTION 618 N Madison Ave. Pasadena, CA 91101 626-796-3026 E-mail: roark_h1@yahoo.com Basic Rate: $35 per hr. Clients: all Levels Styles/Specialties: all, electric, acoustic rock, folk, finger style, classical, improvisation

SOUTH PASADENA MUSIC CENTER & CONSERVATORY 1509 Mission St. South Pasadena, CA 91030 626-403-2300 E-mail: spmc@att.net Web: www.southpasadenamusic.com

ROCKENBACK MUSIC GROUP P.O. Box 20093 Piedmont, CA 94620 510-531-5625 E-mail: jock@rockenbachmusic.com Web: www.rockenbachmusic.com Contact: Jock Rockenbach ROCKIT MUSIC 1039 E. Imperial Hwy., Ste. F1 Brea, CA 92821 714 674-0640. 800-633-8808 E-mail: ian@rockitmusic.com Web: www.rockitmusic.com Basic Rate: call/e-mail for info Clients: all levels Styles/Specialties: all styles SANTA MONICA MUSIC CENTER 1901 Santa Monica Blvd. Santa Monica, CA 90404 310-453-1928 E-mail: sales@santamonica music.com Web: www.santamonicamusic.com Basic Rate: call/e-mail for info Clients: all levels Styles/Specialties: all styles

SQUID MUSIC 10742 Beach Blvd. Stanton, CA 90680 714-826-4000 Web: www.myspace.com/ squidmusic1 Basic Rate: call for info Clients: all levels Styles/Specialties: all styles STEIGER 323-854-1873 E-mail: steiger@rockguitar.net Web: www.projectsteiger.com, www.myspace.com/projectsteiger Contact: Ken Steiger Basic Rate: call for info Clients: all levels and all ages Styles/Specialties: blues, rock, metal and shred Notes: Home & office lessons available. Exercise handouts and jam trax STEPHEN DICK Mojacar Flamenco South Pasadena, CA 91030 626-403-7489 E-mail: stephen@ mojacarflamenco.com

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Download This Directory From Our Website Web: www.mojacarflamenco.com, www.studioflamenco.com STYLES MUSIC 777 E. Foothill Blvd. Pomona, CA 91767 909-621-0549 E-mail: gregg@stylesmusic.com Web: www.stylesmusic.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles THE TEC SHOP 3940 Studio Laurel Canyon Studio City, CA 91604 818-508-1070 E-mail: info@the-tec-shop.com Web: www.the-tec-shop.com Services: We repair all tube and solid state amp’s including Fender, Gk, Marshall, Roland etc. TIMEWARP MUSIC 12257 Venice Blvd. Los Angeles, CA 90066 323-600-5050 E-mail: timewarpmusic1@yahoo.com Web: www.timewarpmusic.com Basic Rate: call for info Notes: also specializes in repairs and lessons TRUETONE 714 Santa Monica Blvd. Santa Monica, CA 90401 310-393-8232 Fax 310-260-1415 E-mail: sales@truetonemusic.com Web: www.truetonemusic.com Contact: Shawn Fleming Basic Rate: call for info Clients: all levels Styles/Specialties: all styles VALDEZ GUITAR SHOP 7420 W. Sunset Blvd. Hollywood, CA 90046 323-874-9998 Clients: all levels Styles/Specialties: all styles Basic Rate: call for info VALLEY MUSIC 1611 N. Magnolia Ave., Ste. 310 El Cajon, CA 92020 619-444-3161 E-mail: jcsent@att.net Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

VENTURA MUSIC 111268 Ventura Blvd. Studio City, CA 91604 818-761-9669 Specialty: We buy, sell, trade, repair and service top-quality used guitars, basses and amps including Fender, Gibson, Gretsch, Marshall, Silvertone and more. VPR STUDIOS Los Alamitos, CA 562-310-2753 E-mail: vprstudios1@aol.com Basic Rate: call for info Clients: beginners to intermediate guitarist and bassist Styles/Specialties: all styles *Notes: focuses on reading and writing music notation, rhythm notation, cheat sheet and charts. Also teaches piano, songwriting, guerilla marketing and general music business. Graduate of Fullerton College, Cal State Fullerton. Member of ASCAP, BMI and AMPAS. Former students are now working musicians. WOODLOWE MUSIC CENTER 21410 Ventura Blvd. Woodland Hills, CA 91364 818-883-0050 Web: www.woodlowe.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles

Colorado

BROADWAY MUSIC SCHOOL 1940 S. Broadway Denver, CO 303-777-0833 E-mail: info@ broadwaymusicschool.com Web: www.broadwaymusicschool. com Basic Rate: call for info DENVER MUSIC INSTITUTE 4195 S. Broadway Englewood, CO 80113 303-788-0303 E-mail: denvermusic institute@msn.com Web: www.denvermusic institute.com Basic Rate: call for info

www.musicconnection.com/amp DICK MEIS SCHOOL OF STEEL GUITAR 8932 Bruce St. Denver, CO 80260-4909 877-380-1010, 303-428-4397 Web: www.pedalsteelguitar.net Basic Rate: call for info FLESHER-HINTON MUSIC COMPANY 3936 Tennyson St. Denver, CO 80212 303-433-8891, 800-225-8742 E-mail: geoff@flesherhinton.com Web: www.flesherhinton.com Basic Rate: call for info OLDE TOWN PICKIN’ PARLOR 7515 Grandview Ave. Arvada, CO 80002 303-421-2304, 888-421-2304 E-mail: unclekit@picknparlor.com Web: www.picknparlor.com Basic Rate: call for info

Georgia

HOWIE BENTLEY Cumming & Alpharetta, GA 770-889-8520 E-mail: mail@howiebentley.com Web: www.howiebentley.com SANDY SPRINGS MUSIC 5920 Roswell Rd., Ste. D-201 Atlanta, GA 30329 404-250-0406 Fax 404-250-0731 E-mail: info@sandysprings music.com Web: www.sandyspringsmusic.com Basic Rate: call for info

Hawaii

CHUCK JAMES MUSIC STUDIO Westgate Plaza 94-360 Pupupani St. Waipahu, HI 808-678-3763 Web: http:// chuckjamesmusicstudio.com Additional locations:

Florida

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

April 2013

Stadium Mall Location 4510 Salt Lake Blvd. Honolulu, HI 808-488-1101 Central Oahu and North Oahu Location 10 N. Kamehameha High, #1 Wahiawa, HI 808-678-3763 KAILUA MUSIC SCHOOL 131 Hekili St., #209 Kailua, HI 96734 808-261-6142 E-mail: info@kailuamusic school.com Web: www.kailuamusic school.com/guitar.htm Basic Rate: see website

Illinois

CENTER SCHOOL OF MUSIC 900 N. Franklin St. Chicago, IL 60610 312-416-0622 Web: www.centerschoolof music.com Basic Rate: call for info CHICAGO GUITAR LESSONS 3021 N. Troy

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Download This Directory From Our Website Chicago, IL 60618 773-463-0212 E-mail: guitar@chicago guitarlessons.com Web: www.chicagoguitarlessons.com Contact: Michael Powell Basic Rate: $35/hr Clients: 16 to 40 years of age Styles/Specialties: electric, acoustic, rock, fingerstyle GUITAR CHICAGO Chicago, IL 312-863-8588 E-mail: info@guitarchicago.com Web: www.guitarchicago.com Basic Rate: call for info MUSICAL EXPRESSIONS OF ILLINOIS LLC 190 E. 5th Ave. Naperville, IL 60563 630-355-1110 Web: www.musicalexpressions.net Basic Rate: call for info

E-mail: vicki@metairiemusic.com Web: http://www. metairieschoolofmusic.com/ Basic Rate: $75/month Services: guitar, bass, vocals, piano, drums RIVER RIDGE SCHOOL OF MUSIC 2020 Dickory Ave. Ste. 200 Harahan, LA 70123 504-738-3050 Web: www.laapa.com Basic Rate: call for info

Maine

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

Maryland

Louisiana

ANDY HYMEL SCHOOL OF MUSIC 1800 Stumpf Blvd., Unit 2 Terrytown, LA 70056 504-362-1212 E-mail: andyhymelschool@ bellsouth.net Web: http://www. andyhymelschoolofmusic.com/ ofmusic.com Basic Rate: call for info COVINGTON SCHOOL OF MUSIC 857 N. Collins Blvd. Ste. A Covington, LA 70433 985-590-4545 Fax 985-898-0705 Web: www.laapa.com Basic Rate: call for info MANDEVILLE SCHOOL OF MUSIC 316 Girod St. Mandeville, LA 70448 985-674-2992 Fax 985-674-2553 Web: www.laapa.com Basic Rate: call for info METAIRIE SCHOOL OF MUSIC 901 Veterans Memorial Blvd. Metairie, LA 70005 504-837-7731

MIKE AULDRIDGE PRODUCTIONS Silver Spring, MD 301-733-8271 E-mail: mikeauldridge@ beardguitars.com Web: www.mikeauldridge.com Basic Rate: call for info

Massachusetts

LEEDS GUITARMAKERS’ SCHOOL 12 North Main St. P.O. Box 434 Williamsburg, MA 01096 413-582-0034 Web: www.leedsguitar.com Cost: please call or see web for info

Michigan

AXIS MUSIC ACADEMY Metro Detroit Area 248-799-8100 E-mail: mmoy@axismusic.com Web: www.axismusic.com Basic Rate: call for info Additional locations: 29555 Northwestern Hwy. 2nd Fl. Southfield, MI 48034

www.musicconnection.com/amp 248-799-8100 E-mail: southfield@axismusic.com 42114 Ford Rd. Canton, MI 48187 734-742-1400 E-mail: canton@axismusic.com 283 Hamilton Row Birmingham, MI 48009 248-258-9100 E-mail: birmingham@axismusic. com GROSSE POINTE MUSIC ACADEMY 19443 Mack Ave. Grosse Pointe Park, MI 48230 313-458-7723 E-mail: info@grossepointemusic academy.com Web: grossepointem usicacademy.com Basic Rate: call for info Additional location: 5880 N. Canton Center Rd., Ste. 425 Canton, MI E-mail: canton@ grossepointemusicacademy.com 734-418-0640

Minnesota

GIRLS ROCK AND ROLL RETREAT P.O. Box 16094 Minneapolis, MN 55416 E-mail: jenny@girlsrocknrollretreat. com Web: www.girlsrocknrollretreat.com Contact: Jenny Case, Program Director

Birch Lake Elementary School 1616 Birch Lake Ave. White Bear Lake, MN 55110 PODIUM, THE 425 14th Ave. S.E. Minneapolis, MN 55414 612-331-8893, Toll free 866-331-8893 E-mail: sales@thepodium.com Web: www.thepodium.com Basic Rate: call for info

Nevada

ROBERT ANTHONY Iron Mountain Ranch, NV 702-236-3212 E-mail: guitar1789@aol.com Web: www.robertanthonymusic.com Basic Rate: $30/half-hour, $50/hour

New Jersey

ACADEMY OF DRUMS & GUITAR 589 Fischer Blvd. Toms River, NJ 08753 732-270-8680 E-mail: contact@academy ofdrums.com Web: www.academyofdrums.com Contact: Neil Garthly Basic Rate: lessons start at $25/half-hr. Clients: all ages Styles/Specialties: all styles & all levels IAN MACAULAY Haddon Township, NJ 856-357-7046 E-mail: info@ian-macaulay.com, Web: www.ian-macaulay.com, www.myspace.com/ ianmacaulaymusic

MACPHAIL CENTER FOR MUSIC 501 S. 2nd St. Minneapolis, MN 55401 612-321-0100 Fax 612-321-9740 E-mail: Proctor.Kristin@macphail. org Web: www.macphail.org

TOP TIER GUITAR STUDIO 177 S. Centre St. Ste. A, 2nd Fl. Merchantville, NJ 08109 609-346-8015 E-mail: nick@toptierguitarstudio.com Web: http://toptierguitarstudio.com/

Additional locations:

IAN KAPLAN Albuquerque, NM E-mail: ian292@yahoo.com Web: www.iankaplan.com/lessons. html

Apple Valley 14750 Cedar Ave., S. Apple Valley, MN 55124

New Mexico

Music Production and Recording

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DownloadThis ThisDirectory Directoryat From Our Website Download www.musicconnection.com/amp New York

THE COLLECTIVE SCHOOL OF MUSIC 541 Avenue of the Americas New York, NY 10011 212-741-0091 E-mail: info@thecollective.edu Web: www.thecollective.edu Basic Rate: call for info MATT SCHLATTER Brooklyn, NY 609-923-1048 E-mail: matt@mattschlatter.com Web: www.mattschlatter.com Basic Rate: $30/half an hour, $50/hour NEW YORK CITY GUITAR SCHOOL Recording and Rehearsal Arts Building 251 W. 30th St., 11th Fl. New York, NY 10001 646-485-7244 E-mail: info@nycguitarschool.com Web: www.nycguitarschool.com Basic Rate: call for info YMCA CENTER FOR THE CREATIVE ARTS 301 W. Bloomfield St. Rome, NY 13440 315-336-3500 Web: http://www.ymcatrivalley.org/about-us/ contact-us Basic Rate: call for info Clients: beginner to expert

North Carolina

JIM HICKEY MUSIC 14100 South Lakes Dr. Charlotte, NC 28273 704-620-5418 E-mail: jim@jimhickeymusic.com Web: www.jimhickeymusic.com MUSIC LOFT 929 N. Church St. Greensboro, NC 336-378-1068 Web: www.themusicloft.net Guitar Instructors: Jeff Swanson, 336-3373331; Jack King, 336-299-0445; Brad Newell, 919-403-5647 Bass Instructor: Virginia Masius, 336-288-7245 STREET WISE MUSIC 11318 North Community House Rd. Charlotte, NC 704-219-6756 Web: www.streetwisemusiconline.com E-mail: streetwiserock@carolina.rr.com Additional locations: 5943 Weddington Rd. Matthews, NC 704-882-5775 13024 Eastfield Rd. Huntersville, NC WILL RAY Asheville, NC 828-296-0107 E-mail: will@willray.biz Web: www.willray.biz Basic Rate: $75/hr., $100/1&1/2 hrs. Clients: intermediate to professional Styles/Specialties: country, blues, roots *Notes: Currently play with the Hellecasters, have instructional DVDs, and have monthly column in Guitar Player magazine, can do lessons online.

Ohio

BRECKSVILLE SCHOOL OF MUSIC 8945 Brecksville Rd. Brecksville, OH 44141 440-526-1020 Web: www.brecksvilleschoolofmusic.com Basic Rate: call for info JAMES FLOOD GUITAR LESSONS 1508 Belle Ave. Lakewood, OH 44107 216-224-8578 E-mail: jflood@thesacredarts.org Web: www.jamesfloodguitar.com Styles/Specialties: basic & classical guitar Basic Rate: call for info Additional location: Pepper Pike 30500 Fairmount Blvd. Pepper Pike, OH 44124 1519 S. Green Rd. South Euclid, OH 44121 MOTTER’S MUSIC HOUSE, INC. 5228 Mayfield Rd. Lyndhurst, OH 44124 440-442-7470 Fax 440-461-3631 E-mail: mottersmusic@hotmail.com Web: www.mottersmusic.com Basic Rate: $16/half-hr.

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Additional location: 4242 Boardman Canfield Rd. Canfield, OH 44406 330-533-3600 SKYLINE MUSIC 27010 Center Ridge Rd. Westlake, OH 44145 440-871-4140 Fax 440-871-6892 E-mail: skyline@skylinemusic.com Web: www.skylinemusic.com Basic Rate: call for info

Oregon

MANSELLES MUSIC SHOP 4808 S.E. Ina Ave. Milwaukie, OR 97267 503-659-9817 E-mail: sales@mansellesmusic.com Web: www.mansellesmusic.com Basic Rate: call for info NEWBERG MUSIC CENTER 514 E. 1st. St. Newberg, OR 503-537-2196 E-mail: newbergmusic@ newbergmusiccenter.com Web: www.newbergmusiccenter.com Basic Rate: call for info STARFISH STUDIOS 2240 SE Hawthorne Blvd. Portland, OR 97214 503-847-9605 Web: www.starfishstudios.com Contact: Yascha Noonberg Basic Rate: please call for info Styles/Specialties: we teach guitar, bass, piano, drums, voice, violin, viola, cello, sax, clarinet, flute, mandolin, trombone, trumpet

Pennsylvania

CLASSICAL GUITAR STORE, THE 2038 Sansom St.

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Download This Directory From Our Website Philadelphia, PA 19103 USA 215-567-2972 E-mail: info@classical guitarstore.com Web: www.classicalguitarstore.com Basic Rate: call for info Clients: all levels Styles/Specialties: classical, folk, blues, rock and jazz playing styles

Tennessee

COTTON MUSIC 434 Houston St., Ste. 131 Nashville, TN 37203 615-383-8947 Fax 615-383-9932 E-mail: guitars@cottenmusic.com Web: www.cottenmusic.com Basic Rate: call for info GARY TALLEY 620 West End Cir. Franklin, TN 37064 615-370-4760 Fax 615-370-4760 E-mail: gary@garytalley.com Web: www.garytalley.com Basic Rate: call for info GENE FORD MUSIC 330 Franklin Rd. Brentwood, TN 37027 615-371-1661 E-mail: geneford@geneford music.com Web: www.genefordmusic.com Basic Rate: call for info GUITAR SCHOOL OF NASHVILLE Nashville, TN

E-mail: janet.mclaughlin3@ gmail.com Web: www.guitarschool ofnashville.com Basic Rate: call for info JAN WILLIAMS SCHOOL OF MUSIC AND THEATRE 500 Wilson Pike Cir., Ste. 104 Brentwood, TN 37027 615-371-8086 Fax 615-371-8637 E-mail: jwsm88@bellsouth.net Web: www.janwilliamsmusic.com Basic Rate: call for info Services: piano, voice, guitar, percussion, Rising Stars, Kindermusik, and Musical Theatre JONATHAN FLETCHER MUSIC 144 N. Lowry St. Smyrna, TN 37167 615-459-3133 E-mail: support@ jonathanfletchermusic.com Web: www.jonathanfletcher music.com Basic Rate: call for info KASPER HOME MUSIC STUDIOS 927 Battlefield Dr. Nashville, TN 37204 615-383-8516 Web: www.kaspermusic.com Basic Rate: call for info MARK’S MUSIC GROUP 805 14th Ave. S. Nashville, TN 37203 618-288-1993

www.musicconnection.com/amp Web: www.marksmusic7.com Basic Rate: call for info Clients: all levels / SKYPE lessons Styles/Specialties: all styles

Nashville, TN 37210 615-291-6600 E-mail: bob.wilson@mnps.org Web: http://www.nsahs.mnps.org/ site215.aspx Basic Rate: call for info

MIKE HUTCHENS 6421 Lansing Dr. Nashville, TN 37209 615-356-7467, 615-969-2244 E-mail: mike.hutchens@comcast.net Web: www. guitarlessonswithmikehutchens.com Basic Rate: call for info

SHUFF’S MUSIC 118 3rd Ave. N. Franklin, TN 37064 615-790-6139 Web: www.shuffsmusic.com E-mail: zach@shuffsmusic.com Basic Rate: call for info

MOBILE MUSIC ACADEMY LLC P.O. Box 140817 Nashville, TN 37214 615-301-8589, Texas: 512-301-8589 E-mail: info@ mobilemusicacademy.com Web: www.mobilemusicacademy. com Contact: Jonathan Gaertner Basic Rate: depends on area. Clients: all ages Styles/Specialties: most styles and specialties

Texas

ABC SCHOOL OF MUSIC 9183 Katy Fwy, Ste. 100 Houston, TX 77024 713-365-9154 E-mail: info@abcschoolofmusic. com Web: www.abcschoolofmusic.com Basic Rate: call for info AUSTIN GUITAR SCHOOL 5501 N. Lamar, Ste. A111 Austin, TX 78751 512-442-2880 E-mail: ags@austinguitarschool.com Web: www.austinguitarschool.com Basic Rate: call for info

NASHVILLE JAZZ WORKSHOP 1319 Adams St. Nashville, TN 37208 615-242-JAZZ (5299) E-mail: info@nashvillejazz.org Web: www.nashvillejazz.org Basic Rate: call for info

DALLAS/MUSIC 3415 Milton Dallas, TX 75205 214-363-4980 E-mail: notes@dallas-music.net

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Basic Rate: $60/hr. Clients: all levels Styles/Specialties: all styles

DALLAS SCHOOL OF MUSIC, INC., THE 2650 Midway Rd., Ste. 204 Carrollton, TX 75006-2378 972-380-8050 E-mail: help@dsminfo.com Web: www.dsminfo.com Basic Rate: call for info

LONESTAR SCHOOL OF MUSIC 4301 W. William Cannon Dr. Austin, TX 78749 512-712-5187 E-mail: arbortrails@ lonestarschoolofmusic.com Web: www.lonestarschoolof music.com Basic Rate: call for info

FRISCO SCHOOL OF MUSIC 9255 Preston Rd. Frisco, TX 75034 972-377-5977 E-mail: music@mcot.com Web: www.friscoschoolmusic.com Basic Rate: call for info GIRL GUITAR AUSTIN Austin, TX 512-709-4558 E-mail: Mandy@girlguitaraustin.com Web: www.GirlGuitarAustin.com Basic Rate: $150 for 6-week class Clients: women 21 and up Styles/Specialities: performancebased women’s guitar and songwriting classes with a glass of wine! JOE THE GUITARMAN Xena Studios Dallas 2506 Montalba Ave. Dallas, TX 75228-2622 E-mail: joe@joetheguitarman.com Web: www.joetheguitarman.com

MIKE ELLIS MUSIC INSTRUCTIONS 9450 Skillman St., Ste. 101 Dallas, TX 75238 469-855-6865 E-mail: comments@ ellismusiclessons.com Web: www.ellismusiclessons.com Basic Rate: $20/half-hr., paid monthly Styles/Specialties: all styles SOUTH AUSTIN MUSIC 1402 S. Lamar Blvd. Austin, TX 78704 512-448-4992 E-mail: southaustinmusic@ gmail.com Web: www.southaustinmusic.com Basic Rate: call for info TEMPO SCHOOL OF MUSIC, LLC 13505 Westheimer Rd.

Houston, TX 77077 281-293-8880 Web: www.temposchoolofmusic.com Basic Rate: call for info TRADITION GUITARS 3124 Sandage Ave. Fort Worth, TX 76109 888-361-5838, 817-923-6300 E-mail: sales@traditionguitars.com Web: www.traditionguitars.com

Virginia

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

Washington

BELLEVUE SCHOOL OF MUSIC 2237 140th Ave. N.E. Bellevue, WA 98005 425-401-8486 Web: www.bellevueschoolof music.com Basic Rate: call for info BOWLING MUSIC STUDIOS 7217 Chico Way N.W. Bremerton, WA 98312 360-692-7419 Web: www.bowling musicstudios.com Basic Rate: call for info

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METER MUSIC SCHOOL 2110 East Union St. Seattle, WA 98122 206-792-9039 E-mail: frontdesk@ metermusicschool.com Web: www.metermusicschool.com Basic Rate: $35/half-hr., group lessons are $20/hr. MUSIC WORKS NORTHWEST 14360 S.E. Eastgate Way, Ste. 102 Bellevue, WA 98007 425-644-0988 Fax 425-644-0989 E-mail: registration@ musicworksnw.org Web: www.musicworksnw.org Basic Rate: call for info ROB HAMPTON Heartwood Guitar 206-799-6415 E-mail: rob@heartwoodguitar.com Web: www.heartwoodguitar.com Basic Rate: call for info SEATTLE DRUM SCHOOL 12510 15th Ave. N.E. Seattle, WA 98125 206-364-8815 E-mail: info@seattledrumschool.com Web: www.seattledrumschool.com Basic Rate: call for info Additional location: 1010 S. Bailey

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Download This Directory From Our Website Seattle, WA 98108 206-763-9700

West Virginia

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

Wisconsin

MICHAEL BARTON Milwaukee, WI 920-915-TUNE (8863) E-mail: infol@ambadextro.com Web: www.ambadextro.com Basic Rate: call for info SONG CYCLES MUSIC STUDIO 1425 W Mason St Green Bay, WI 54303 920-490-8793 E-mail: bsmeall@berklee.net Web: www.songcycles.net Contact: Benjamin Smeall, Director

Bass Instructors & Services Nationwide

GUITAR CENTER *See guitar listing for info

Arizona

ARIZONA MUSIC ACADEMY 1700 E. Elliot Rd. Ste. 11 Tempe, AZ 85284 480-705-0875 Web: www.arizonamusic academy.com BASS IN THE HOUSE MUSIC INSTRUCTION Tempe, AZ 480-457-9522 E-mail: bassinthehouse@gmail.com Web: www.bassinthehouse.com Contact: Mario DeSantis Basic Rate: $30 40 min. lesson wk., billed monthly. *Notes: In-home instruction. Discounts available TONAL CENTER GUITAR INSTRUCTION 1051 W. University Dr.

70 April 2013

Tempe, AZ 85281 480-894-3346 E-mail: kurt@tonalcenter.com Web: www.tonalcenter.com Basic Rate: $20-25 per half hour

California

www.musicconnection.com/amp have a computer and a broadband Internet service and a camera, lessons are available online. See website for details and check out Bunny’s bass at carvin.com

AARON WOLFSON *See guitar listing for info

CALIFORNIA VINTAGE GUITAR AND AMP *See guitar listing for info

ADAM’S MUSIC *See guitar listing for info

CANOGA SCHOOL OF MUSIC *See guitar listing for info

AGOURA MUSIC *See guitar listing for info

CASSELL’S MUSIC *See guitar listing for info

ALHAMBRA SCHOOL OF MUSIC *See guitar listing for info

CHARLES MUSIC CENTER *See guitar listing for info

ALTA LOMA MUSIC *See guitar listing for info

COAST MUSIC *See guitar listing for info

AMP SHOP/BASS EXCHANGE *See guitar listing for info

CORONA MUSIC CENTER 1191-B Magnolia Ave. Corona, CA 92879 951-898-2630 E-mail: info@lahabramusic.com Web: www.lahabramusic.com Basic Rate: call for info Clients: all levels

AMUSE *See guitar listing for info ANAHEIM HILLS GUITAR AND BASS LESSONS *See guitar listing for info ARCADIA MUSIC CENTER *See guitar listing for info BARKER’S MUSIC *See guitar listing for info BAXTER/NORTHUP MUSIC *See guitar listing for info BOULEVARD MUSIC *See guitar listing for info BUNNY BRUNEL 24310 Moulton Parkway #0-178 Laguna Woods, CA 92637 800-300-0950 Carvin-Hollywood, CA Carvin-San Diego, CA E-mail: info@bunnybrunel.com Web: www.bunnybrunel.com Basic Rate: $85/hr. Clients: all levels Styles/Specialties: all styles *Notes: fingering, modes, harmony, improv., bass lines, slap. Also if you

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CRAIG BECK *See guitar listing for info

Clients: All levels Styles/Specialties: Ultra experienced lead singer & bassist in countless professional bands the styles of rock, funk, blues & R&B, bass & vocal technique, breathing & placement of voice ranges, intervalic & rhythmic concepts, chart reading, music theory, ear training, interpretation, improvisation, etc. Qualifications: Musicians Institute Vocational Honors Graduate & MI Human Relations Award 1994’95. Grammy-Winning Bassist for Evanescence’s Multi-Platinum “Fallen” Album. Have played with Robert Plant, Chris Poland of Megadeth, Ronnie Montrose, Alex Leigertwood of Santana, Randy Meisner of the Eagles, Jimmy Crespo of Aerosmith, Dweezil Zappa, etc. FULLERTON MUSIC CENTER *See guitar listing for info GEOFFREY MCCABE *See guitar listing for info GILMORE SCHOOL OF MUSIC *See guitar listing for info

CULVER CITY MUSIC CENTER *See guitar listing for info

GO FAR GUITAR SCHOOL *See guitar listing for info

DANA GONZALES *See guitar listing for info

GRAYSON’S TUNE TOWN *See guitar listing for info

DIETZ BROS. MUSIC *See guitar listing for info

GUITAR, BASS & AMPLIFIER REPAIR AND TECHNICAL SERVICES *See guitar listing for info

FAUNT SCHOOL OF CREATIVE MUSIC *See guitar listing for info

HERB MICKMAN Van Nuys, CA 818-990-2328 FRANCESCO DICOSMO Basic Rate: call for info Grammy Winning Bassist-SingerClients: all levels Composer-Producer Styles/Specialties: all styles AudioVision Digital Notes: Electric and string Media & Music Production bass only. Teaching since 1960 310-908-9006, SKYPE: and former head of the bass DiCosmoFone E-mail: dicosmobass@yahoo.com department at the Grove School. Web: www.FrancescoDicosmo.com Former students hired by over 40 prominent recording artists. Basic Rate: Call for info

Download This Directory From Our Website INSTRUMENTAL MUSIC *See guitar listing for info JIM’S MUSIC CENTER *See guitar listing for info JOHN FLITCRAFT W. Los Angeles, CA 310-985-4571 E-mail: jflitcraft@earthlink.net Web: www.johnflitcraft.com Basic Rate: call for info Clients: all levels Styles/Specialties: all styles JOHN MENZANO 25809 Parada Dr. Valencia, CA 91355 818-489-0464 E-mail: menzatwork@sbcglobal.net Web: http://johnmenzano.com/ Basic Rate: call for info Clients: all levels Styles/Specialties: all styles *Notes: Has toured/recorded with Sheena Easton, Dave Koz, Three Dog Night, Brenda Russell, presently with Donny Osmond, Frankie Valli. JOHNNY THOMPSON MUSIC *See guitar listing for info JOIN THE BAND MUSIC LESSONS STUDIO *See guitar listing for info KASHA AMPLIFIERS, INC. *See guitar listing for info KAYE’S MUSIC SCENE *See guitar listing for info LAGUNA HILLS MUSIC *See guitar listing for info

LONG BEACH SCHOOL OF MUSIC *See guitar listing for info MARINI MUSIC *See guitar listing for info

www.musicconnection.com/amp SANTA MONICA MUSIC CENTER *See guitar listing for info

MIAMI MUSIC WORKS, INC. *See guitar listing for info

SINGER MUSIC *See guitar listing for info SOLUTIONS *See guitar listing for info

RON KAYE’S MUSIC INSTRUCTION *See guitar listing for info

McCABE’S GUITAR SHOP *See guitar listing for info

SOUTHERN CALIFORNIA CONSERVATORY OF MUSIC *See guitar listing for info

SAM ASH MUSIC CORPORATION *See guitar listing for info

MICHAEL T. *See guitar listing for info

STYLES MUSIC *See guitar listing for info

MOORE LIVINGSTON MUSIC STORE *See guitar listing for info

THE TEC SHOP *See guitar listing for info

MARSHALL MUSIC *See guitar listing for info

MOREY’S MUSIC STORE, INC. *See guitar listing for info MO’S MUSIC MALL *See guitar listing for info. MUSICIAN’S DEPOT *See guitar listing for info MUSICIANS INSTITUTE *See guitar listing for info MUSIC MAKER SCHOOL OF MUSIC *See guitar listing for info MUSIC STORE, THE *See guitar listing for info MUSIC WORKS *See guitar listing for info NORMAN’S RARE GUITARS *See guitar listing for info

Georgia HOWIE BENTLEY *See guitar listing for info PRO-MAESTRO MUSIC *See guitar listing for info

TONE BOX, INC. *See guitar listing for info

RUSS RODGERS Georgia 404-386-0983 E-mail: russrodgers@gmail.com Web: www.russrodgers bassguitar.com

TRUETONE *See guitar listing for info VALDEZ GUITAR SHOP *See guitar listing for info

VISION MUSIC LIVE Atlanta, GA 404-229-1282 E-mail: info@visionmusiclive.com Web: www.visionmusiclive.com Basic Rate: call for info

VALLEY MUSIC *See guitar listing for info VENTURA MUSIC *See guitar listing for info

Hawaii

VPR STUDIOS *See guitar listing for info

CHUCK JAMES MUSIC STUDIO *See guitar listing for info

WOODLOWE MUSIC CENTER *See guitar listing for info WORLD MUSIC *See guitar listing for info

Colorado

PEACELAND GUITAR LESSONS *See guitar listing for info

BROADWAY MUSIC SCHOOL *See guitar listing for info

LA MIRADA MUSIC *See guitar listing for info

PETE’S MUSIC AND GUITAR SHOP *See guitar listing for info

DENVER MUSIC INSTITUTE *See guitar listing for info

LARRY LARSON MUSIC STORE *See guitar listing for info LON COHEN STUDIO RENTALS *See guitar listing for info

LA HABRA MUSIC *See guitar listing for info

Florida

Illinois CENTER SCHOOL OF MUSIC *See guitar listing for info CHICAGO GUITAR LESSONS *See guitar listing for info MUSICAL EXPRESSIONS OF ILLINOIS, LLC *See guitar listing for info

Louisiana

ROCKENBACK MUSIC GROUP *See guitar listing for info

FLESHER-HINTON MUSIC COMPANY *See guitar listing for info

ANDY HYMEL SCHOOL OF MUSIC *See guitar listing for info

ROCKIT MUSIC *See guitar listing for info

OLDE TOWN PICKIN’ PARLOR *See guitar listing for info

COVINGTON SCHOOL OF MUSIC *See guitar listing for info

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Download This Directory From Our Website MANDEVILLE SCHOOL OF MUSIC *See guitar listing for info

MACPHAIL CENTER FOR MUSIC *See guitar listing for info

METAIRIE SCHOOL OF MUSIC *See guitar listing for info

ROBERT ANTHONY *See guitar listing for info

RIVER RIDGE SCHOOL OF MUSIC *See guitar listing for info

ACADEMY OF DRUMS & GUITAR *See guitar listing for info

Maine

THE GUITAR STUDIO *See guitar listing for info

Maryland

MARYLAND BASS LESSONS 410-299-4744 E-mail: dave@davedemarco.com Web: www.davedemarco.com Contact: Dave DeMarco

Massachusetts

OSCAR STAGNARO Boston, MA E-mail: ostagnaro@gmail.com Web: http://www. oscarstagnaromusic.com/

Michigan

AXIS MUSIC ACADEMY *See guitar listing for info

Minnesota

GIRLS ROCK AND ROLL RETREAT *See guitar listing for info

Nevada

New Jersey New York

IAN KAPLAN *See guitar listing for info

North Carolina

JIM HICKEY MUSIC *See guitar listing for info MUSIC LOFT *See guitar listing for info STREETWISE MUSIC *See guitar listing for info

New York

www.musicconnection.com/amp www.kevindelaneymusic.com Basic Rate: Call for info Styles: heavy metal, hard rock, shred RITT HENN New York, NY E-mail: ritt@ritthenn.com Web: www.ritthenn.com, myspace. com/ritthenn, youtube.com/ manbassboxtv Basic Rate: $50/hr. Clients: all levels, acoustic and electric bass Styles/Specialties: all styles Notes: played with Tom Jones, Chuck Berry and Buddy Rich, though unfortunately not at the same time.

Ohio

BRECKSVILLE SCHOOL OF MUSIC *See guitar listing for info

Oregon

COLLECTIVE SCHOOL OF MUSIC, THE *See guitar listing for info

MANSELLES MUSIC SHOP *See guitar listing for info

KEVIN DELANEY 251 W. 30th St. 9th Floor New York, NY 212-340-1184 E-mail: lessons@ shredlikeametalgod.com Web: www.shredlikeametalgod. com,

NEWBERG MUSIC CENTER 514 E. 1st. St. Newberg, OR 503-537-2196 E-mail: newbergmusic@ newbergmusiccenter.com Web: www.newberg musiccenter.com Basic Rate: call for info STARFISH STUDIOS *See guitar listing for info

Tennessee

GENE FORD MUSIC *See guitar listing for info GUITAR SCHOOL OF NASHVILLE *See guitar listing for info JONATHAN FLETCHER MUSIC *See guitar listing for info MOBILE MUSIC ACADEMY LLC *See guitar listing for info NASHVILLE SCHOOL OF THE ARTS *See guitar listing for info SHUFF’S MUSIC *See guitar listing for info

Texas

AUSTIN GUITAR SCHOOL *See guitar listing for info DALLAS SCHOOL OF MUSIC, INC., THE *See guitar listing for info LARISSA MULLIGAN MUSIC STUDIO 9605 Lacey Ln. Keller, TX 76248 817-741-6057 72 April 2013

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E-mail: piano@lmmusicstudio.com Web: www.lmmusicstudio.com Basic Rate: call for info LONESTAR SCHOOL OF MUSIC *See guitar listing for info MIKE ELLIS MUSIC INSTRUCTIONS *See guitar listing for info MUSIC CONSERVATORY OF TEXAS *See guitar listing for info TEMPO SCHOOL OF MUSIC, LLC 13505 Westheimer Rd. Houston, TX 77077 281-293-8880 Web: www.temposchoolofmusic. com Basic Rate: call for info TRADITION GUITARS *See guitar listing for info

Virginia

MURPHY METHOD, THE *See guitar listing for info

Washington

BELLEVUE SCHOOL OF MUSIC *See guitar listing for info BRADY MILLARD-KISH Heartwood Guitar Seattle, W206-799-6415 E-mail: rob@heartwoodguitar.com Web: www.heartwoodguitar.com Basic Rate: on website Clients: beginning to intermediate, all ages Comments: Web instructions only MUSIC WORKS NORTHWEST *See guitar listing for info SEATTLE DRUM SCHOOL *See guitar listing for info

West Virginia

GORBY’S MUSIC, INC. *See guitar listing for info

Wisconsin

SONG CYCLES MUSIC STUDIO *See guitar listing for info

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Selling Your Royalties? Be Careful! A

re you an artist who has considered selling his old music catalog and still make money from it? Everyone seems to know something of the value of selling their publishing, but not everyone recognizes the intricacies of selling their writer’s royalties. I must have Googled this topic a hundred times, but there really is very little information out there. I believe it is such a specialized topic, that few people have travelled down this road. I’ve done research in the past couple years, however, and found out some enlightening things. For one, the writer’s royalty share of, say, ASCAP, SESAC and BMI, can be a very valuable commodity to outside investors. Because of the huge swings in the stock and real estate markets, more and more investors, both independent and corporate, are venturing into attaining entertainment royalties, which don’t fluctuate during recessions. But with the good comes the bad. I want artists to be aware of whom to steer away from and what is a sensible deal. So read on if you’re interested in some friendly advice for artists who want to earn money from old catalog.

Understand Breakdown of Royalties to Sell

You should understand that a song has two sides as far as public performance royalties go. Those are collected by what is commonly referred to as PROs (performing right organizations) in the United States––ASCAP, BMI, SESAC. Now you have writers’ and publishers’ sides that are valued the same, as far as royalties paid by the PROs. In other words, if a song is placed on a daytime TV show and earns $130 for the writer, then the publisher side of this song for the same placement will earn the same amount. So from the standpoint of the performance royalties, they are basically of equal value (don’t confuse this with sync fees or mechanical royalties). Even if you don’t control the publishing side of the song or even the copyright, you can still sell your writer royalty stream. For example, say you have a catalog of songs that have been earning an average of 25k per year, the common sales multiple is usually four to five times the average. Hence this catalog would be worth 100k to125k. There are some companies/individuals that may value the catalog a little higher or lower depending on the intrinsic value they put on the catalog; for example, hit songs, television themes, etc. At the end of the day it really depends on how eager an investor is to acquire the catalog.

range) while taking 50 percent of your writer’s side. Absolutely ridiculous! The only way that model would work is considering the large advance as the purchase of the 50 percent writer’s and there would be no recoupment at all. Hence from that point further they collect 50 percent of the writer’s. My advice is the second option––selling the catalog outright. It is the best and quickest way to make money from your older catalog. (For the right price, of course.) Plus you don’t have to sell 100 percent of your writer’s either; you may only want to sell 25 percent or even 10 percent, but keep in mind the purchase price will drop with the smaller percentages. You have no “so-called” investment partners with the buy-out model and you are not obligated to pay back an advance via recoupment, which in some cases leaves you liable for the unrecouped amount if not paid back within a period of time.

Work With People You Can Trust

As you can imagine, there are certainly a lot of scammers out there; so be aware and stay clear of them. I must admit that this was a very scary thing for me when I first investigated the possibility of selling of my writer’s royalties. I found out a lot about how little people in general know about royalties (outside of the music community). Based on my experience, I advise you to stay away from investment bankers, equity companies, oil companies and “so-called” family trusts. These people are just trying to get a leg in the music business and do not understand the first thing about music royalties. Believe it or not, I found myself explaining to these people how ASCAP, SESAC and BMI work and how they collect monies from the various broadcast licensors. It seems to me that if you are going to invest into a business you would at least know how the hell it works, even just the basics. I had been offered a few of these deals from companies and when I accepted them after negotiations, they were abruptly pulled off the table, and believe me it happened more than once. From my perspective, this behavior came across as very shady and dishonest. The good news is there is a new company out there that does sell writer’s royalties and has had success doing so in the past year. The company is called Royalty Exchange, which is an online auction, run by entrepreneur Sean Peace. He has good financial connections that can hook writers up with the right buyers. I must warn you that this is not an overnight sale––it can take months to sell a catalog or not sell at all––but still, in my particular case, Sean proved to be committed and closed the deal. What worked for me is that he had the contacts in the money world. I have dedicated my life to all facets of the music industry, from composer to artist to producer, and never had ties with the banking “suits” of the world, so Royalty Exchange was the perfect connection for me. The bottom line is to go MICRO-BIO: Winner of multiple Emmy Awards, composer Brian Tarquin has established himself as a with your instincts––do top-rate TV composer-guitarist. In 2006 SESAC honored your research before you him with the Network Television Performance Award. sign on the dotted line. Tarquin produced and composed the Guitar Masters series, trading licks with such guitar greats as, Leslie And, as always, if you’re West, Steve Morse, Billy Sheehan, Frank Gambale, not absolutely sure about Andy Timmons, Chris Poland (Megadeth) and Hal something, get a lawyer Lindes (Dire Straits). Visit http://tvfilmtrax.com. to look it over.

“There are certainly a lot of scammers out there; so be aware and stay clear of them.”

Know the Sales Breakdown

Generally there are two ways of earning money on your catalog: r BO BEWBODF BHBJOTU GVUVSF SPZBMUJFT r UIF BDUVBM TBMFT PG ZPVS SPZBMUJFT There are a couple of ways the advance works. One is when a company will offer a modest advance, usually no more than the total yearly income. They collect 100 percent of your writer’s catalog until the advance is recouped, plus a very high interest rate. Investment bank companies have been known to offer high advances plus a high interest rate, and then take 50 percent of the writer’s side for life. I have been offered this type of deal and advise to keep clear of it because they are not buying that 50 percent of your writer’s side, just giving you an advance/loan and will collect the advance 100 percent until recouped––plus hitting you with a high interest rate (in the 20 percent 78 April 2013

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ere’s a dirty little secret: Most monitors in Eris’ price range are designed so that they sound impressive in the store — lots of bonky bass and tizzy treble — but they aren’t accurate when you’re trying to do a serious mix in your studio. The new Eris™ E5 and E8 are true pro monitors with the precise back-panel acoustictuning tools you need to tailor their sound to your room environment and musical genre*. You’ll end up with mixes

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that sound good everywhere (including iTunes and CDs), not just in your control room. Eris monitors pack longthrow KevlarÂŽ K100 low frequency transducers and low-mass, silk dome high frequency transducers with separate butt-kicking Class A/B amps for each. Above all, Eris are musical, powerful, and excruciatingly accurate. Get the whole story of Eris on our site. Or visit your Southern California PreSonus dealer for an earfull of Eris.

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www.musicconnection.com

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