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CONTENTS 

Informing Music People Since 1977 

 

36 

All Time Low 

In MC’s exclusive interview with Alex 

Gaskarth, the frontman shows what it 

takes for a band to make progress and 

have a lengthy career in today’s music 

industry. 

By Siri Svay 

Photos: Jon Weiner 

46 

Industry Profile 

MC looks into how Your Music 

Company’s crowdsourcing/label 

hybrid actually works. 

By Victoria Patneaude 

Guitar Jam 2015 

Music Connection’s roundtable-style interviews 

with legend Robin Trower, Jeff Beck bassist 

Rhonda Smith, blues-rock firecracker Ana 

Popovic and jazz-fusion powerhouse Dewa 

Budjana allow each musician to reveal something 

special about their art and craft. 

By Eric A. Harabadian 

Directory of Guitar/Bass 

Services & Instructors 

Compiled By Denise Coso 

40 

Departments 

08. Close Up 

09. Assignments 

10. New Toys 

14. Book Store 

16. Up Close 

18. Studio Mix 

23. Business Affairs 

26. Signing Stories 

28. Song Biz 

32. FilmTVTheater 

34. Mixed Notes 

Reviews 

47. Album Reviews 

48. New Music Critiques 

50. Live Reviews 

54 

Be sure to follow Music 

Connection on Facebook 

and Twitter. 

20. Producer Crosstalk: Tee-Double . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 

22. Exec Profile: Tony Valenziano, Smile Records . . . . . . . . . . . . . . By Andy Kaufmann 

30. Songwriter Profile: John Moreland . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 

44. Expert Advice: Playing Special Events . . . . . . . . . . . . By Paul “Chico” Fernandez 

62. Tip Jar: Your Personal Relationships . . . . . . . . . . . . . . . . . . . . . . . . . By Mixerman 

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. 

4 

April 2015 

musicconnection.com

The Fishman of Acoustic Preamps 

Our new Platinum Pro EQ and Platinum Stage universal 

preamps are designed for players looking for a pro-quality 

preamp/DI for their acoustic guitar, violin, cello, bass, resonator 

guitar, banjo, mandolin or other acoustic instruments that may 

be too small or too precious to have an onboard preamp. 

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

makes it a Fishman. 

Platinum Series Preamps from Fishman – For over 30 years, 

the world’s #1 maker of acoustic instrument pickups & preamps. 

Inspired Performance Technology TM 

fishman.com

E. Eric Bettelli PUBLISHER 

E. Eric Bettelli 

GENERAL MANAGER / 

ADVERTISING DIRECTOR 

ericb@musicconnection.com 

Denise Coso 

OPERATIONS MANAGER / 

DIRECTORIES EDITOR 

denisec@musicconnection.com 

Steve Sattler 

BUSINESS 

DEVELOPMENT MANAGER 

steve@creativesalesresource.com 

Hillorie McLarty 

ADVERTISING/MARKETING 

hillorier@musicconnection.com 

Ray Holt 

DIRECTOR OF 

DIGITAL MARKETING 

rayh@musicconnection.com 

Jessica Pace 

 

j.marie.pace@gmail.com 

Mark Nardone 

ASSOCIATE PUBLISHER / 

SENIOR EDITOR 

markn@musicconnection.com 

John Curry 

ART DIRECTOR 

artdirector@musicconnection.com 

Siri Svay 

ASSOCIATE EDITOR / 

SOCIAL MEDIA MANAGER 

siri@musicconnection.com 

Barry Rudolph 

NEW TOYS 

barry@barryrudolph.com 

Bernard Baur 

CONTRIBUTING EDITOR 

bbatmc@aol.com 

Dan Kimpel 

SONG BIZ 

dan@dankimpel.com 

FEATURE WRITERS 

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

Editorial Interns 

Austin Wood intern@musicconnection.com 

Shannen Roberts intern@musicconnection.com 

CONTRIBUTING WRITERS 

Carl Anthony, Allegra Azzopardi, Bernard Baur, Danica Bellini, Brett Bush, Jeannie 

Deva, Gary Graff, Eric A. Harabadian, Ted Jamison, Andy Kaufmann, Kurt Orzeck, 

Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, Daniel Siwek, Vincent 

Stevens, Laurier Tiernan, Brooke Trout, Albert Vega, Jonathan Widran, Ellen Woloshin 

PHOTOGRAPHERS 

Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin 

Estrada, Apple Kaufmann, David Klein, Tony Landa, Dave Long, Thomas Long, Kurt 

Orzeck, Jessica Pace, Victoria Patneaude, Scott Perham, Rob Putnam, Alexander G. 

Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Vincent Stevens, Brian Stewart, 

E. H. Tiernan, Paula Tripodi, Brooke Trout, Albert Vega, Ellen Woloshin 

MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA 

Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, 

Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada 

$4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 

(U.S. currency) per year. We are not responsible for unsolicited material, which 

must be accompanied by return postage. All rights reserved. Reproduction in whole 

or part without written permission of the publishers is prohibited. The opin ions of 

contributing writers to this publication do not necessarily reflect the views of Music 

Connection, Inc. Copyright © 2015 by E. Eric Bettelli. All rights reserved. 

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

CORPORATE HEADQUARTERS 

3441 Ocean View Blvd., Glendale, CA 91208 Office: 818-995-0101 

Fax: 818-638-8015 Email Address: contactmc@musicconnection.com 

Website: musicconnection.com 

Legal Counsel: Christopher J. Olsen / chris@chrisolsenlaw.com 

Subscribe to MC NOW! 

musicconnection.com/store/subscribe 

6 

April 2015 

musicconnection.com

CHARLES LAURENCE 

PRODUCTIONS 

clpstudios.com 

– JONATHAN WIDRAN 

One-Stop Shop Recording and Restoration Facility: Perfectly combining 

his major/minor of Chemical Engineering/Electronics and Music at Cal 

State Northridge, Charles Laurence had a brief flirtation with the aerospace 

industry before launching Charles Laurence Productions, a one-stop 

state-of-the-art recording, audio/video and production facility. His studio not 

only provides state-of-the-art recording production, audio/video and artist 

management, but also restoration and re-mastering services. While his 

main studio room is dedicated to new recordings, he also devotes ample 

space to vintage analog tape restoration, baking and transfer and legacy 

data acquisition and digital transfer via such technologies as Syquest and 

Jaz and Mac to PC Audio transfers from programs like Cubase. 

Laurence also does 24 and 32 track music production (analog and 

digital), with synths, percussion and grand piano on site, and has an 

audio production studio with thousands of sound effects. Over the years, 

he’s also re-mastered hundreds of classic pop and jazz recordings (Billie 

Holiday, Dizzy Gillespie, Ike & Tina Turner). 

Video Restoration and Production Services: In 2010, Laurence brought 

a diverse video component to his production and restoration business, offering 

such services as 8 mm, 16mm 3/4 inch, Beta and VHS film transfers 

to DVD; ½ video, mono ¾ Umatic transfers; video editing, DVD Duplication 

and the creation of training videos. One of the key technologies he uses is 

the Final Cut Pro Editing with a Motion plug in. He also does video restoration, 

transfers, time base and color correction, which helps stabilize the 

picture and restore old videos for digital presentation on DVD. “The most 

dynamic part of transferring old to new technologies is using the best of 

what we had in the ‘80s and ‘90s, including pro VHS players and hi fi with 

newer technologies like the time base corrector,” says Laurence. 

Innovations: Over the years, Laurence’s three-room facility has not only 

stayed on the cutting edge of technology, but transcended it through 

in-house innovations. Designing his own equipment for fidelity optimization, 

he has developed pre-amps, buffer amps and dual servo pre-amps, 

among many other new technologies. 

Contact Charles Laurence Productions, 818-368-4962 

8 April 2015 musicconnection.com

Chris Allen 

Export Sales Manager 

PMC 

PMC has appointed Chris Allen as 

Export Sales Manager for PMC’s Pro 

Audio product range. Allen’s new role 

sees him responsible for international 

sales, managing a global distribution 

network, liaising directly with clients and 

maintaining PMC’s status as a leader 

in speaker technology and reference 

monitoring for the creative pro audio industry. After studying audio and 

recording technology at De Montfort University, Leicester, and Confetti 

Studios, Nottingham, Allen joined pro audio manufacturer Prism Sound. 

For the next seven years he provided sales and technical support for 

Prism Sound’s range of audio converters and analogue processors. For 

additional information, contact sue@whitenoisepr.co.uk. 

Naim McNair 

Senior VP of A&R 

Republic Records 

Republic Records has promoted Naim 

McNair as Senior Vice President of A&R. 

Based in the company’s Los Angeles 

office since 2012, McNair has signed 

artists such as Kalin & Myles and Zernell 

Fontaine by way of Sarah Stennant’s 

Turnfirst Records, launching and guiding 

their respective campaigns. With over 

20 years of experience, he also contributed to projects including Ariana 

Grande, Sage the Gemini and many others. He will continue to build and 

develop Republic’s roster and elevate artists to new heights. McNair has 

served as Vice President of A&R at Republic Records since 2012. Prior, 

he worked as an A&R consultant orchestrating the signing of Future to 

Epic Records Records. Contact Joseph.carozza@umusic.com. 

Timothy Thompson 

President 

ARGOSY 

ARGOSY Console has promoted 

Timothy Thompson to company 

President. Thompson will focus on 

overseeing day-to-day operations and 

will be responsible for implementing the 

company’s strong position for growth 

within the music, film and related 

industries. He will also focus upon 

developing key alliances and product partners in other growing market 

segments, such as aerospace, education, finance, government, law 

enforcement and transportation. Thompson is a 20-year veteran of 

business development in manufacturing and relationship building in the 

music, film, television, and technology industries. For more information 

on this appointment, contact Margaret@msmediainc.com. 

Gabe Tesoriero 

Executive VP of Media, Creative Development 

Def Jam Records 

Def Jam Recordings has promoted Gabe 

Tesoriero to Executive Vice President, 

Media and Artist Relations. Based in New 

York, Tesoriero will work closely with the 

East Coast and West Coast staffs on 

behalf of the artists and executives of Def 

Jam Recordings and its affiliate labels. 

He will lead media, publicity, creative and 

imaging campaigns for Def Jam’s roster of Multiplatinum, award-winning 

legends and superstars, as well as the company’s new and developing 

artists. Tesoriero is a 10-year veteran of Def Jam, having served as 

Senior Vice President, Media and Artist Relations for the former Island 

Def Jam Music Group since 2012. For additional information, contact 

renata.muniz@umusic.com. 

Courtney Lowery 

VP of Publicity 

Epic Records 

Epic Records has promoted music 

publicist Courtney Lowery to Vice 

President of Publicity. In his new role, 

Lowery will oversee all aspects of publicity 

activities for selected artists and projects 

on Epic Records. He will specialize in 

the design, strategy and implementation 

of global media campaigns, saturation of 

digital, print, TV, social media and new technology to broaden the scope 

and impact of those campaigns, and the creation of unique, once-in-alifetime, 

special events. Lowery has more than a decade of experience 

at Sony Music and Epic Records. He has served as Senior Director of 

Publicity, Epic Records, since the arrival of L.A. Reid as Chairman and 

CEO in 2011. For more info, contact micah.schure@epicrecords.com. 

Dustin Hinz 

Executive VP of Marketing 

Ernie Ball Inc. 

Ernie Ball Inc. has appointed Dustin Hinz 

to Executive Vice President of Marketing. 

Hinz will lead marketing and brand 

strategies for the Ernie Ball and Music 

Man brands. In his role, Hinz will develop 

and direct innovative marketing strategies 

to further the Ernie Ball brand experience. 

He will focus on content creation and 

entertainment programs designed to spotlight the Ernie Ball culture, 

fan-base, product assortment and retail partnerships. Hinz most recently 

held the position of Vice President Brand Experience, Marketing and 

Media Production. He has driven a number of campaigns in brand and 

entertainment marketing, creative and artist empowerment programs. For 

more information, contact ed@anthemicagency.com. 

Shivaun O’Brien 

Traffic Manager 

Vintage King Audio 

Vintage King Audio has hired Shivaun 

O’Brien in the newly created role of Traffic 

Manager. As former Studio Manager of 

Sound City Studios, O’Brien brings over 

three decades of in-studio knowledge to 

Vintage King Los Angeles, where she will 

work towards creating an ever-expanding 

pro audio experience. O’Brien spent nearly 

20 years at Sound City and was involved in booking the studio, making 

sure the sessions ran well and keeping the equipment well-maintained. 

Working in nearly every position, from receptionist to engineering 

major sessions, O’Brien has worked her way up the ranks to become 

a respected and well-known member of the pro audio community. For 

more information, contact mrbonzai@mrbonzai.com. 

Kyle Lassegard 

Marketing Manager 

Hosa Technology 

Hosa Technology has promoted Kyle 

Lassegard to Marketing Manager. 

Lassegard will oversee a number of 

crucial operations for the company. These 

include developing and executing the 

organization’s advertising and promotional 

activities, including print, electronic media 

and trade show activities. In addition to 

directing copywriters, graphic artists and web developers in the creation 

of the company’s web content, he will also write, design and edit the 

company’s promotional and collateral materials. Further, he will oversee 

all design and usability aspects of the company’s websites in support 

of Hosa’s overall sales and marketing initiatives. For more information, 

contact rmaycock@mountaincrest.net. 

April 2015 

musicconnection.com 

9

– BARRY RUDOLPH barry@barryrudolph.com 

YAMAHA DTX502 HYBRID PACKS 

FUCHS AUDIO TECHNOLOGY FULL HOUSE-50 GUITAR AMP 

The Fuchs Audio Technology’s Casino Series of guitar amps come in power output ranges from 4 to 100-watts. Right 

in the middle at 50 watts are the Full-House-50© heads and combos with the same tubes and circuit found in other 

Casino models. Great for small stages, recording studios or back at the homestead, it uses the ODS preamp circuit 

and comes with custom-wound, U.S.-made power and output 

transformers. 

The Casino amps feature an aircraft grade anodized 

aluminum chassis, a back lit logo, side-chain effects, adjustable 

24-bit digital reverb and buffered series effect loop. You 

also get overdrive volume and tone controls, separate gain 

controls for both clean and dirty channels, a full set of high, 

mid and low tone controls and a two-way gain and channel 

switching footswitch. 

Clean Channel 1 provides “California clean” that you can 

gain boost to a mild crunch or switch over to Channel 2 and 

continue towards more crunch and gain boost into a heavy 

saturation. Get Plexi brightness and crunch using the overdrive 

tone control and know that the side chain introduces no loss of 

tone quality or feel. 

With a five-year warranty, the Full House head is $1,995 and 

the combo is $ 2,195 MSRP. 

fuchsaudiotechnology.com 

MICHAEL KELLY GUITARS 1950 SERIES 

The new 1950’s Series of single cut guitars are available in five distinct “Tele” style models with features, fit, 

finishes and the playability of much higher end instruments. At under $1,000 MSRP each, all feature exotic 

wood tops and contoured arm cut, master volume and tone controls, a three-way pickup selector and coil taps 

for sonic range and versatility. 

I took a look at the 1953 model MK1953CB with Caramel Burst finish over a flame maple top, alder binding and 

body, rosewood fret board on a bolt-on maple neck, bone nut, and 25.5-inch scale. The action felt good 

for “right out of the box” and I especially liked the sound I got splitting the pickups and playing through 

my (stock) Fender Blues Junior amp. 

Cleaning up the amp and switching to the bridge pickup only offered oodles of super-bright and 

spanky tone great for country pickin’ or traditional funk/R&B playing. 

A great line of 1950’s tribute guitars, they range in price from $549 to $875 

and are available with chrome or black hardware. 

michaelkellyguitars.com 

GOGO CALIBER PEDAL TUNER 

The DTX502 Hybrid Packs are for drummers who are looking to combine 

acoustic and electronic elements into one kit that plays well, programs sounds 

fast and sets up easily. These Hybrid Packs simplify the process and include 

all necessary cables and hardware to start sounding great—for live situations 

just add your own amplification. 

To start from scratch, you could get the DTX502, a five-piece Stage Custom 

Birch acoustic drum set with Yamaha 700 Series hardware, a DTX502 sound 

module, two acoustic drum triggers and two electronic drum pads: the TP70 

(7-inch single-zone) and the XP80 (8-inch 3-zone). It also includes trigger 

cables and all mounting clamps ready to attach to the kit. 

If you already own a kit, there are three other DTX electronic systems packs 

that are expandable to add up to 12 pads. All of the packs include a DTX502 

module, two acoustic drum triggers and all the cables and mounting hardware. 

The DTX502 Hybrid Pack with acoustic drum set is $2,600; DTXHP570 

$660; DTXHP580 $990; and the DTXHP587 is $1,150. (All MSRP prices). 

4wrd.it/502HybridPacks 

GoGo’s Caliber Tuner has a calibration mode accessible on its side 

for setting the tuner to alternate references other than A=440 Hz. You 

can set it to reference pitches from 430 Hz to 450 Hz but know that 

whatever “A” frequency you choose, it is indicated right on the display. 

I liked the gun metal or metallic silver case of this chromatic tuning 

pedal, and I found the +/- .5-cent accuracy so exact it showed the 

wonky behavior of a new set of strings immediately. The Caliber will 

detect pitches from A0 (27.5 Hz) to C8 (4,186.00 Hz) making it ready 

to tune bass guitars, synths and well as drop tuned guitars. 

The pedal is equipped with true bypass and provides daisy chain 

power jacks for other pedals and the giant high definition screen makes 

it is easy to see GoGo’s signature “green you’re in, red you’re out” 

display. A standout and big winner down on my pedal board. 

The GoGo Caliber Pedal Tuner sells for $99 MAP. 

facebook.com/GoGoTuners 


PORTRAITS 

IN TONE 

For the bulk of his 2014 tour with the Winery Dogs and 

his recent solo tour, Richie Kotzen was spotted using a 

mysterious red pedal by Tech 21. Countless photos and 

questions were posted on the internet by fans craving to know 

more. A gifted player known for his unique style, Richie is also 

highly respected for his tone, so who could blame them? 

 

® 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WWW.TECH21NYC.COM

– BARRY RUDOLPH barry@barryrudolph.com 

AUDIO-TECHNICA AT5045 CONDENSER MICROPHONE 

With its large, rectangular electret capsule set in a rugged housing of aluminum 

and brass, the hand-built AT5045 side-address cardioid condenser is the 

latest addition to A-T’s 50 Series and is available separately or in stereo pairs 

badged AT5045P. 

It uses a two-micron thick, vapor-deposited gold diaphragm that is pre-aged to 

ensure the mic’s sonic characteristics are fixed and constant over time and as a 

close instrument microphone, the AT5045 has the ability to handle sound pressure 

levels up to 149 dB SPL. 

One of my first tests was to mic a Fender Blues Junior amp. I positioned it offcenter 

to the amp’s twelve-inch speaker and it perfectly captured the amp’s sound 

without distorting. Next I tried both AT5045 mics in the AT5045P kit set up in a 

coincident X-Y stereo pair to record an ESP steel string acoustic guitar. I loved 

how accurately I could set the two capsules’ angles. The sound was present and 

clear without being too bright or excessively boomy. 

The AT5045s are perfect for drum overheads, percussion, acoustic guitar and 

string instruments. With the AT8481 isolation clamp, AT8165 windscreen and custom 

hard-shell carrying case, the AT5045 sells for $1,399 MSRP. The AT5045P 

stereo pair is $2,499 MSRP. 

audio-technica.com/cms/wired_mics/fba62d0246d216b3/index.html 

ARISTIDES INSTRUMENTS’ SSS 060 GUITAR 

Like all the Aristides guitars, the entire SSS 060 guitar including the 25.5-inch scale neck is made of 

a single piece of Arium and includes a choice of Seymour Duncan or Bare Knuckle single-coil pickups in 

the bridge, middle and neck positions. The five-way switch and single volume and tone controls offer a 

wide variety of pickup tone configurations. 

The C-shaped neck is 1.65-inches wide at the nut and available with either a maple, rosewood or 

ebony fingerboard and 24 medium, jumbo frets. Hardware is available in chrome, black or gold finishes 

and includes a Hipshot Contour tremolo, Hipshot’s Grip-Lock tuners and 

Schaller strap locks. Each guitar is set up with a Graphtech Black TUSQ 

nut, D’Addario Nickel Wound XL 10-56 strings and outfitted with an anti-theft 

security microchip. 

The Aristides Instruments SSS 060 guitar sells for $2,840 MSRP and is 

available in matte black, white high gloss (pictured), cream white matte, deep sky blue or baby 

blue matte metallic finishes, the guitar ships in a Gator XL hard case. 

aristidesinstruments.com/page/o6o.html 

HOSA DRIVE SERIES 

The Hosa Drive Series is a collection of interface components 

that makes possible the interconnection of smart 

phones, computers and stereos over to PA and consumer 

playback equipment. 

The centerpiece is the Hosa Drive Bluetooth Audio 

Receiver that is offered with a selection of interconnection 

cables to connect it to any existing audio system. The 

Drive Receiver uses the latest version 3.0 technology to 

wirelessly stream music at up to 24 Mbps to any playback 

system with minimal lag or signal loss. 

I quickly “paired” with my iPhone 6 and then used the 

set of TRS-to-TRS cables provided to connect the Drive’s 

1/8-inch stereo output jack directly to my studio's monitor 

auxiliary controller input. 

I found the range to be 33-feet or better and you get 

about 10 hours operation per charge using the included 

mini USB cable. I streamed music from iTunes® and it 

sounded great similar to using a high quality audio cable. 

The Hosa Drive Series cables ready for any interface 

requirement are: 3.5 mm TRS to TRS, and 3.5 mm TRS to 

Dual RCA in 1.5, 3, 6, and 10-foot lengths. 

The Hosa Drive Bluetooth Audio Receiver sells for 

$54.95 MSRP. The Hosa Drive Stereo Breakout Cables 

range from $14.95 to $34.95 MSRP. 

hosatech.com/product/ibt-300 

FISHMAN PLATINUM PRO EQ 

The Platinum Pro EQ ($399.99 MSRP) 

pedal and Platinum Stage ($194.99 MSRP) 

belt-pack acoustic preamps are two new 

additions to Fishman’s family of preamp products for processing and amplifying 

any acoustic instrument fitted with a pickup. 

I put the Platinum Pro EQ high-headroom Class-A pre-amp to work amplifying 

and improving the sound of a Takamine Model AC/TGB acoustic guitar. I liked that 

there is a ¼-inch output jack for the stage amp plus a fully-balanced XLR DI output 

switchable to either Pre, the guitar’s dry signal, or Post with the pedal's processing. 

I liked the choice of Fishman Classic EQ frequency centers for the Bass, Treble 

and Brilliance controls—for acoustic basses, they’re switchable down the octave 

using the Guitar/Bass switch. 

It was easy and fast to find and reduce the Takamine’s “bite” using the 

sweepable (200 Hz to 3.1 kHz) mid-range frequency EQ. The guitar’s propensity to 

feedback was handled using the phase/polarity flip switch and the tunable 45 Hz 

to 1 kHz notch filter. 

The Platinum Pro EQ is a rugged all-metal stomp box; it has durable foot 

switches to toggle the adjustable volume boost or high-contrast chromatic tuner. 

With an effects loop, LED indicators for all functions, nine-volt battery-powered, 

and useful for guitars or bass instruments, the Fishman Platinum Pro has everything 

you need to produce an excellent and finished sound from any guitar, bass, 

mandolin, or violin. 

fishman.com 

BARRY RUDOLPH is a recording engineer/mixer who 

has worked on over 30 gold and platinum records. He has 

recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat 

Benatar, Rod Stewart, the Corrs, and more. Barry has his 

own futuristic music mixing facility and loves teaching audio 

engineering at Musician’s Institute, Hollywood, CA. He is a 

lifetime Grammy-voting member of NARAS and a contributing 

editor for Mix Magazine. barryrudolph.com 


BOOK STORE 

Brian May’s Red Special: The 

Story of the Home-made Guitar 

That Rocked Queen and the World 

By Brian May, Simon Bradley 

(hardcover) $30.00 

For 50 years, Brian May played the Red Special 

on every Queen album and live show. May and 

his father started to hand-build that guitar in 

1963––a year-long project. May dreamed of a 

guitar that would outperform any commercially 

made electric guitar; 

his father had the 

knowledge and skills 

to help that dream 

come true. They 

were resourceful: 

the neck constructed 

from wood from 

an 18th-century 

fireplace mantel and 

each position inlay 

hand shaped from 

a mother-of-pearl 

button. Unseen 

sketches, diagrams 

and notes accompany the text. 

Understanding and Crafting 

The Mix, 3rd Edition 

By William Moylan 

(paperback) $44.95 

This book fills in so many gaps, mysteries, misconceptions 

and misunderstanding about what 

actually happens to us when we are recording, 

mixing and listening to music. There are clear 

and systematic 

methods for identifying, 

evaluating 

and shaping artistic 

elements in music 

and audio recording. 

Exercises using 

downloaded music 

files will help develop 

critical listening 

and evaluating skills 

for greater control 

over the quality of 

your recordings. 

Recommended by MC’s Barry Rudolph. 

Girl in a Band: A Memoir 

By Kim Gordon 


Often described as aloof, mysterious and the 

embodiment of “cool,” Kim Gordon, founding 

member of Sonic Youth and femme/grunge 

fashion icon, tells her life story in this candid, 

sometimes intense, 

memoir. Gordon relates 

memories, observations 

and philosophy 

about her life as an 

artist, her ill-fated marriage 

to SY’s Thurston 

Moore, the impact of 

divorce and collaborations 

with artists such 

as Gerhard Richter, 

Spike Jonze, Chloe Sevigny 

and Kurt Cobain. 

I Fought the Law: The Life and 

Strange Death of Bobby Fuller 

By Miriam Linna and Randell Fuller 


On July 18, 1966, at the age of 23 and with a 

Top 10 hit, “I Fought The Law,” on the charts, 

Bobby Fuller was found dead in a car doused 

in gasoline outside his Hollywood apartment. 

In this new book––the first-ever authorized 

bio of the Texas musician––Norton Records/ 

Kicks Books co-founder Miriam Linna teams up 

with Bobby’s brother 

and bandmate in the 

Bobby Fuller Four, 

Randell, to “reveal the 

true story of the short 

life and strange death 

of Bobby Fuller.” The 

book delves deeply 

into Bobby’s childhood, 

his band’s rise to local 

fame in Southwestern 

Texas, his national 

breakthrough and 

shocking death. 

Stomp On This!: The Guitar Pedal 

Effects Guidebook 

By Brian Tarquin 


Here is an inside, in-depth look at guitar pedal 

effects from brands like Keeley, Snarling Dog 

and Maestro to bigger names such as Boss, 

Ibanez and MXR. The book begins with a brief 

history of pedals, from the ‘60s to the present, 

and considers such 

landmark designs as 

the wah and overdrive, 

and goes on 

to cover a vast range 

of modern pedals. 

Tarquin also interviews 

designers such 

as Mike Mathews of 

Electro Harmonix, 

Jim Dunlop, Seymour 

Duncan and Robert 

Keeley. 

Going into the City: Portrait of a 

Critic as a Young Man 

By Robert Christgau 


The “Dean of American Rock Critics” takes us 

on an ultra-personal tour through his life that 

is both a love letter to a New York long past 

and a tribute to the transformative power of 

art. Christgau has chronicled many key cultural 

shifts of the last half 

century and revolutionized 

the status of 

the music critic in the 

process. Going Into 

the City is a look back 

at the upbringing that 

grounded him, the history 

that transformed 

him and the music, 

books and films that 

showed him the way. 

14 

April 2015 

musicconnection.com

WINNERS OF 7 AWARDS AT THE 2014 LA MUSIC AWARDS PRESENTATIONS 

The Future of Rock N Roll… Vittorio and Vincenzo of V 2 

Download their Award Winning Album at www.VSquared.rocks 

April 2015 


15

AFM & SAG-AFTRA 

afmsagaftrafund.org 

– JONATHAN WIDRAN 

Securing and Distributing Royalties for Non-Featured Performers: 

On the main page of the website for AFM & SAG-AFTRA Intellectual 

Property Rights Distribution Fund, a key question is asked (“Do we have 

royalties for you?”) followed by the non-profit organization’s mission 

statement: “Committed to the collection and distribution of equitable remuneration, 

and the advancement of Performance Rights for musicians 

and vocalists domestically and internationally.” Listed are the three 

main categories the organization works tirelessly to collect royalties for: 

Sound Recording (non-featured session musicians and background vocalists), 

Audiovisual (union Musicians and Vocalists on Motion Pictures 

and TV programs exhibited in Specific Foreign Markets) and Symphonic 

(symphony, opera and ballet musicians and vocalists). Unlike many 

other rights collectives, membership is not necessary. A claim is made 

for an eligible recording to a particular collective or set of collectives, research 

is performed to identify all performers on that recording(s), and a 

distribution occurs. With a staff of 50, the organization currently collects 

$45 million a year for performers. 

Above (l-r): Director General AISGE Abel Martín Villarejo, Lorena Hirsch, 

Dennis Dreith, Shari Hoffman and AISGE’s Director of International Relations 

José Maria Montes. 

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

History of the Merger and Changing Copyright Law: Initially formed 

by the American Federation of Musicians (AFM) and the American 

Federation of Television and Radio Artists (AFTRA), the Fund is an 

independent entity whose purpose is to collect and distribute royalties 

from various foreign territories and royalties established by government 

statute under U.S. Copyright Law. The U.S. Copyright Act, which 

originally covered performance rights only for publishers and authors, 

had some very significant changes to the U.S. laws in the ’90s. Among 

these was the Digital Millennium Copyright Act of 1998 (DMCA), which 

amended the original Copyright Act to provide performance royalties in 

digital media (subscription services, webcasting, home taping). 

Actively Seeking Contact Info For Unclaimed Royalties: AFM & 

SAG-AFTRA maintains a list of individuals that have been credited for 

covered sound recordings but for whom they currently have no address/ 

contact information. These individuals may be entitled to a check. Those 

on the list at afmsagaftrafund.org/unclaimed-royalties.php can complete 

a Performer information form. There will also soon be a list called “No 

Credits Found” for those who have appeared on recordings but have not 

been properly credited. 


April 2015 


17

TAYLER AUBIN 

Enabler Don’t Fail to Feel Safe 

Ohio-based hardcore/metal outfit Enabler entered Silver Bullet Studios in 

Burlington, CT with engineer Chris Teti and producer Greg Thomas, who also 

produced the band’s 2012 album, All Hail The Void. Mastering will be done 

by Bill Henderson at Azimuth Mastering. The band’s new album, Fail to Feel 

Safe, is slated for an early summer 2015 release. Pictured (l-r): vocalist/ 

guitarist Jeff Lohrber and producer Greg Thomas. For more information, visit 

enablerband.com. 

Canadian Artist Tracks 

in Nashville 

Canadian country star Gord Bamford 

hit the studio with ole’s John 

Ozier (ole General Manager, Nashville 

Creative). Bamford recorded music 

for a new album with producer 

Phil O’Donnell at Legends Studio in 

Nashville, TN. It will be the follow-up 

to Bamford’s 2013 release, Country 

Junkie, which produced the No. 1 

Canadian Country Chart single “When 

Your Lips Are So Close.” Pictured (l-r): 

Ozier and Bamford. Visit gordbamford. 

com for more. 

Lavish Opens to Public 

Scott Weiland (Stone Temple Pilots, Velvet Revolver) has opened his recording 

studio to the public. Lavish Studios has been Scott’s private sandbox since 

1997, where many STP and VR songs were written and recorded. The tracking 

room is 30’ x 45’ with 14’ ceilings, and includes a 15’ x 15’ stage and a 

baby grand piano. The studio sports a Studer 24-track 2” tape machine, MCI 

528b console, Neve BCM10 sidecar, 1955 Neumann U47 and a bevy of vintage 

outboard gear, guitars, and drums. Pictured at the vintage MCI console: Studio 

Manager/Producer Rocco Guarino. For more info, visit lavishstudiosla.com. 

GC Pro Helps Outfit Vanquish Studios 

Vanquish Studios, located in Davie, FL, was designed by Blank Design Group 

with systems integration by Malvicino Design Group and gear sourced 

through Guitar Center Professional (GC Pro). GC Pro-sourced gear includes 

Pro Tools and a full software complement; microphones from Audio- 

Technica, AKG, Neumann, Sennheiser, Sony and more; monitors from ADAM, 

Genelec, Yamaha and others; and outboard gear from brands such as Focusrite, 

Lexicon, Universal Audio, Apogee and more. Visit gcpro.com. 

Producer Playback 

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

If you want the quick, shortcut way, you’re going to have quick, shortcutsounding 

songs.” – Philip Lawrence, producer (Lil Wayne, Cee Lo Green), June 2013. 

18 

April 2015 

musicconnection.com

–SIRI SVAY siri@musicconnection.com 

Lala Mansion Grows with SSL Duality 

Lala Mansion began as a private recording room in Tampa, FL built and designed 

by Tom Morris from Morrisound Recording. At that time, studio owner 

Don Miggs was looking for a writing room, but Lala Mansion has grown into a 

studio outfitted with an SSL Duality mixing console, and Boyz II Men was the 

first group to get a turn on the board. In late 2014, Miggs decided that an SSL 

mixing console was no longer something “nice to have,” but a necessity. For 

more, visit solidstatelogic.com. 

Faith No Maor 

Los Angeles-based mastering engineer Maor Appelbaum mastered the new 

Faith No More album Sol Invictus at his facility Maor Appelbaum Mastering. 

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

It was produced by their bass player Billy Gould and mixed by engineer Matt 

Wallace. Pictured (l-r): Wallace, Appelbaum and Gould. For more information, 

visit maorappelbaum.com. 

TARINA DOOLITTLE 

Kramer Finds Lost Coyote at East West 

Producer Eddie Kramer bumped into old friends at East West Studios. Kramer 

was mixing in Studio Two while Lost Coyote was filming their music video, 

“Moving On Down The Line,” in Studio One, the same studio that Elvis Presley 

filmed his ‘68 Comeback Special. Pictured (l-r): Lost Coyote’s Bill Stewart and 

Chris Lawrence, Kramer and Lost Coyote’s Brian C. Stewart and Dusty Wakeman. 

For Lost Coyote’s music video, visit youtube.com/watch?v=F-DSCd9k_sM. 

The Restless Ones 

Alternative-rock band Heartless Bastards worked at Sonic Ranch studio in El 

Paso, TX for their upcoming album, Restless Ones, due out on June 16. The 

album was produced, engineered and mixed by John Congleton. Pictured 

(l-r): Heartless Bastards’ singer, guitarist and songwriter Erika Wennerstrom 

and producer Congleton. For more information, visit the band’s website at 

theheartlessbastards.com. 

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April 2015 musicconnection.com 19

PRODUCER CROSSTALK 

TEE-DOUBLE 

By Rob Putnam 

ustin, TX has risen to the fore as a creative mecca. Hip-hop artist, 

producer and advisor to fledgling artists Tee-Double (a.k.a. 

ATerrany Johnson) knows this well. He started writing music at the 

age of nine. He self-releases about two records a year through his label 

Kinetic Global Media Group and also helps artists through Urban Artist 

Alliance, a non-profit he founded to advise and guide new voices. 

He adopted a self-sufficient approach 

when, as a youth, he read the 

jacket of Prince’s Controversy. “‘Written, 

produced and arranged’ by one 

guy,” he recalls. “That’s how I thought 

you made records. Now I write, produce, 

mix and master all of my own 

projects. I even ship from here. 

“I handle 90 percent of my contracts,” 

he continues. “There are ways 

to negotiate revenue from licensing 

instead of up-front fees. The revenue 

and publishing from my song ‘Bringing 

It Back’ in Breaking Bad will probably 

come forever. The way I structured 

my licensing deal, I get the final say. 

I decide where my music gets placed 

in and the back-end deals. I’ve also 

Mirage, Sly and Robbie, Breaking Bad 

The three most important 

things he’s learned as a 

producer are: 

 

- 

 

 

 

 

 

 

placed in indie films with step deals. It’ll be in festival movies and if it gets 

picked up, then my money kicks in. Those can pay off in the long run.” 

The secret to a good song is emotion. “You can take bad lyrics, sing 

them well and make it a good song,” he asserts. “It’s all about feeling. Today, 

most people care about rhythm and hooks—even more than verses. 

If you want a song that’s going to be listened to for years, the emotion 

and words have to be right. Think of early Motown: Marvin Gaye and 

Smokey Robinson sang those songs so well. That’s what sold them.” 

Tee-Double launched Urban Artist Alliance after witnessing shortcomings 

of other non-profits intended to help artists. He funds it personally and 

now artists reach out to him from across the country. “We consult to artists; 

we teach them the music making process: before, during and after,” the 

producer explains. “We show them how to make music, how to get a record 

and/or licensing deal and how to interact with the industry. We pull artists 

away from doing mix-tapes and get them back to making albums. You can 

make 20 mix-tapes, but that’s other people’s music. You’re not earning any 

money. Those mix-tapes could have been albums in your catalog.” 

Kinetic Global emphasizes artists over revenue; innovation rather than 

trend chasing. “I’ll never sign an artist ’cause they’re the new hip thing,” 

he says. “Trends come and go. Most of what you hear today was developed 

a year ago and is now just hitting market. I produce records ’cause I 

like the music and person. I don’t have to do it to pay bills. That’s a good 

situation ’cause you can [then] be more honest about the music.” 

Currently he’s working on a new record and further licensing opportunities 

while several projects incubate. Meanwhile, Urban Artist Alliance 

consumes about half of his time. “I’m big on artists learning as much as 

they can about the business,” he says. “I learned about publishing when 

I was 13. We have to educate artists about the industry so they don’t 

repeat the mistakes of others.” 

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


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– ANDY KAUFMANN 

Tony Valenziano 

President 

Smile Media Group 

he’s his 14-year-old self playing in his 

bedroom, saying, “I’m going to be a star.” 

Once a musician, always a musician. 

You’re never losing that. 

Years with Company: 20 

Address: 12400 Ventura Blvd. #444, 

Studio City, CA 91604 

Phone: 818-850-3811 

Web: smilerecords.com 

E-mail: thesmilemediagroup@gmail.com 

Clients: the Knack, the Andersons, the 

Stand, the Oranges, sparkle*jets U.K., 

Smash, Hutch, Stew, Carla Olson, the 

Wondermints. 

BACKGROUND 

Under the rubric of Smile Media Group, 

Tony Valenziano has united a host of 

entities he has been involved with for over 

20 years––Smile Records, Swingtone 

Records, Something Music and TKO 

Entertainment. A musician himself with 

A&M Records’ act, the Stand, he has 

recently decided to return to his creative 

roots by expanding his role as a producer. 

A Model Employee 

I was in a band and working at a studio, 

so I knew what time slots were open. We 

started doing demos and I recorded other 

people. In this town, if you want to be a producer, 

you should have your own label. 

I had a deal through Universal at the time. 

When that all went bye bye, there was interest at 

Image Entertainment in a family-owned catalog. 

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

That built up into my getting the Smile bands–– 

the Wondermints, the Knack, Carla Olson, 

Supremium and more. Through the years, I 

started dealing with dinosaur heritage acts and 

managers. They were all looking for outlets. They 

liked the infrastructure of what we were doing, so 

Smile Records morphed into Model Music Group. 

An Expensive Lesson 

Before Model Music Group, I was President of a 

Sony label called Icon Music. We were handling 

their legacy artists. Beautiful offices in Culver 

City and Sony was next door. We were there 

for six or seven months and the owner said, 

“Hey, we’re moving to Beverly Hills. Why? I got 

a better place. Come get your stuff.” The guy 

took all our money and fled to Mexico. He took a 

monster chunk of all our cash and never paid us. 

Bringing It Together 

Model Music Group started at Fontana/Universal 

and I signed John Waite and the Bangles. There 

were other artists in our group, like Al Jardine 

and Micky Dolenz. One of the guys I got involved 

with was John Waite’s manager Ron Stone. 

Model Music was the remnants of another thing 

on its way out, so we formed Something Music. I 

had to come up with an entity [to put it all under] 

and that’s how Smile Media Group became a 

thing. It was just an aggregator to be able to have 

a distribution deal at all times, access to artists, 

access to songs. This was an outlet for all that. 

Skyrocket Taking Off 

I knew Kevin Day from before, especially at 

Icon. We were going to use his Rocket Science 

marketing company. When things started rolling 

with Something Music, we wanted Kevin to work 

with us, so he and I started working hardcore 

together. He and I have now developed 

“You need to be proactive; you 

need to be a participant in your own 

career. Without your participation, 

we’ll have a very difficult time.” 

Skyrocket, which is a marketing services 

company that complements all the labels we do. 

Fans Who Like Physical 

When dealing with a Berlin, Dave Mason, Rickie 

Lee Jones, Bangles or John Waite, their fans 

are pretty established. I don’t have to build that 

up and their fans still love tangible [media]. 

Digital is catching up, but it hasn’t really caught 

on 100 percent. So with our releases, I always 

put out LPs, because I know my target market is 

a crowd that enjoys having a physical piece. 

Serving All Artists 

I always look for different artists and we have 

a smorgasbord of places to go. It starts from 

brand new bands to the Hall & Oates of the 

world. It’s our job to build artists and take them 

from ground zero to where they want to be. If 

we’re a stepping stone, that’s great. We work 

with and for each other and a lot of these deals 

are 50/50. We’re in it for the long haul. 

Between Two Worlds 

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

We’re not spread out like a major. We handle 

a manageable amount, so when [our artists] 

call, we actually speak with them or their 

management. We’re not too busy to do that. We 

live in between the guy pushing his own record 

and the majors; there’s money to be made 

there. There’s a lot more music, because the 

majors don’t know what to do with them unless 

it catches on. I like those artists because they’re 

hungry and have done the grassroots part. 

We’re able to help them with the machinery. We 

have the access that they’re looking for. 

The Musician’s Mindset 

When you’re an artist, your mentality is different. 

You’ve got to stay focused on that trueness 

inside of you; why you’re the creative person 

that got involved in the first place. Keeping 

that passion from day one is difficult, but that’s 

where you need to stay. Tom Petty still thinks 

Do Your Part 

What’s the buzz? What’s your story? 

You’ve got to create that and then I 

can help you. Artists [need] to go on 

the road and go through the trenches. 

Everyone has gotten to the point of, “Oh, 

we don’t have to do that, because I have 

the Internet. I can just do a video and 

everyone in the world can see me.” How 

does everyone even know how to look 

for you? No one’s interacting with you; 

they have no connection. You need to be 

proactive; you need to be a participant in 

your career. Without your participation, 

we’ll have a very difficult time. 

If You’re Starting a Label, Love It 

People with success at the label level are 

like me—they’re passionate. I produce acts 

and think, “Man, people have to hear this.” 

That’s why I started. I wanted those people 

to have a chance. If you can find the right 

partner and distributor, you’re on a good 

path. It’s an interesting flight once you get 

on it, but once you’re on, you’re on for life. 

Labels as Seal of Quality 

I used to buy records just because the label 

was cool. You went off the brand, because you 

trusted they were going to give you some good 

music. That’s what I’ve always dreamt about 

having. I’m doing stuff for everybody. I’m not 

just keying in on what Tony’s about and that’s it. 

The New Model 

When Kevin and I were doing a Rickie Lee 

Jones project, people knew about Kickstarter, 

but nobody really knew about PledgeMusic. It 

wasn’t big at the time, but it was catching on. 

Ron [Stone] was managing Bonnie Raitt and 

Kevin suggested, “If you reach out to your fans 

you can make this record.” She did and she was 

so grateful to her fans that she fired Ron. “What 

do I need you for if I can do this on my own and 

keep the money?” When I heard about that, I 

thought we should do something like that with 

our artists. The Rickie Lee Jones project took on 

a life of its own. We were only asking for $40K. 

And we got $116K! We looked at each other 

and knew this was the ultimate business model. 

We understand it to be a presale. It’s become 

its own store. Rickie Lee Jones has more CDs 

she’s going to sell to them in the first week than 

she’ll probably do at retail. Within a week, we’re 

charting. People are going to know about it. 

We have marketing money. You raise money 

and it’s not a recoup. It’s money you don’t put 

against a statement. I can hire a publicist for six 

months instead of three or get a radio person on 

for the life of a single versus a 12-week run. 

Fighting Perception 

According to RIAA, the percentage of all sales 

that’s digital is 14 percent. Vinyl’s up, only 

three-six percent of all sales, but you can’t beat 

perception. Streaming is the new love. You’re 

buying radio and it’s your music, anytime you 

want to play it. But if you look at the numbers, 

CDs are still there. Is physical down? Sure. But 

vinyl’s up, so physical’s holding. I know a label 

out here that only makes cassettes. But trying to 

beat that whole digital thing is a pain in the butt. 

22 

April 2015 

musicconnection.com

– BERNARD BAUR 

OPPS 

B Walker Shoes and Urban 

Threshold Enterprises are 

seeking artists for the B Walker 

Shoes Jingle Contest. The 

objective is to record and perform 

an original jingle you’ve written, 

describing the attributes of the 

footwear company’s wares. The 

entry submission must have a 

minimum of two shout-outs to B 

Walker Shoes, and include the 

following statement: “If It Doesn’t 

Say B Walkers of London It’s 

Not Official.” The contest is open 

to singers, rappers and bands. 

The Grand Prize winner will 

receive $500 in cash and prizes. 

You are eligible if you are at least 

21 years of age and are a U.S. 

resident. Upload your jingle to 

YouTube and label it as “B Walker 

Shoes Jingle - Your Name.” 

Then email the YouTube link, 

your full name, stage name, age, 

phone number, city and state to 

BWalkerContest2015@gmail.com. 

One submission is allowed per 

entrant. The deadline for entries 

is April 15. The winner will be 

announced on May 25. For further 

details, go to bwalkershoes.com. 

The CD Compilation “Radio Hits 

Volume 10” has an open call for 

musicians. All genres of music are 

accepted and musicians from all 

over the world are invited to submit 

their best songs. Promotion and 

publicity will be provided by project 

partners, including Vision SD 

Pictures (music & film promotion 

and production), Jan Spano 

(music manager), TopFest (music 

festival), Hammer World (music 

magazine), Rock and Pop (music 

magazine), Fajn Rock Music 

(radio), MotorosHang (radio), and 

RockHard (music magazine). The 

Compilation will be delivered to 

radio stations in the USA, Canada, 

Germany, Austria, and Czech 

Republic. For consideration, send 

your MP3, and/or video link (if any) 

to sefredaktor@bojoveumenia.com. 

Nashville Rising Star, a 

discovery vehicle for emerging 

artists, has announced a 

partnership with Country Fan 

Jam, a music festival being 

held June 11 to 14, 2015 at the 

Tennessee State Fairgrounds. 

Artists who would like to perform 

in front of industry and fans are 

encouraged to submit material 

to countryfanjam.com and/or 

nashvillerisingstar.com. The grand 

prizewinner of Nashville Rising 

Star Series 3 will perform on 

Country Fan Jam’s main stage 

before a headlining act. The four 

finalists of Nashville Rising Star 

will share a one-hour block of 

stage time on Country Fan Jam’s 

acoustic stage. 

New Music Seminar (NMS) 

wants to find the “Top 100” 

artists about to break through 

in today’s market, i.e. “Artists 

on the Verge” (AOV). To qualify, 

artists must demonstrate positive 

career momentum and cannot be 

signed to a major independent or 

major label. Those chosen will be 

given the opportunity to perform 

as a part of NMS New Music 

Nights Festival, held on June 

21 to 23 in New York City. The 

AOV Project has featured many 

GENIUS BRANDS TAPS FAIRCRAFT FOR CHILDREN’S MUSIC 

Genius Brands International has partnered with Ron and Stefanie Fair 

(Faircraft Inc.) to oversee children’s music. Industry veteran Ron Fair 

and his spouse Stefanie (a singer, songwriter, producer and actress) will 

operate as GBI’s music content development unit with Ron serving as Exec. 

Music Director. The dynamic duo has written for and produced numerous 

award-winning artists, including Pussycat Dolls, Black-Eyed Peas, Mary 

J. Blige, Fergie, Christina Aguilera and Lady Gaga. The Fairs will provide 

creative direction and consultation for GBI’s new original content including 

the animated series Thomas Edison’s Secret Lab, as well as its library of 

programming, which includes the classic Baby Genius. See gnusbrands.com. 

MC HOT 100 ACT MARK MACKAY DROPS NEW EP 

Music Connection “Hot 100” artist Mark Mackay has released a new EP, 

titled 11 Miles Out of Nashville. Mackay practices a DIY work ethic that is 

extraordinary. His marathon-touring schedule alone exemplifies his drive and 

ambition, with dates in California, Arizona, Nevada and Colorado. It’s as if this 

dude never sleeps! A combination of blues-rocker and country picker (a la 

Keith Urban), Mackay delivers brilliant vignettes drawn from his life and love 

of the open road. Doing it his way, Mackay gave every patron who attended 

his CD release party a free copy of the EP. To learn more about this up-andcomer, 

go to markmackayoffcial.com. 

artists before they broke, such as 

Macklemore, The Pains of Being 

Pure at Heart, MisterWives, 

Action Bronson, Schoolboy 

Q and Joey Bada$$. All AOV 

performers are invited to showcase 

their talent during the New Music 

Nights Festival, and the top three 

will be chosen to perform at a 

special event where they will be 

exposed to leading and influential 

industry reps. One winner will 

be announced on Tuesday, 

June 23 and will walk away with 

thousands of dollars in studio 

time, consultations, promotions, 

marketing, music equipment, and 

more. Visit newmusicseminar.com. 

Music Gorilla has announced a 

partnership with Cadenza, the 

tool that helps indie musicians 

get access to A&R services. 

The partnership will see a boost 

for independent musicians around 

the world in realizing their musical 

ambitions. With both companies 

exposing each other’s services 

to their respective communities, 

bands and artists looking for their 

big break can leverage Music 

Gorilla and Cadenza’s partnership 

to enhance their profile to the 

music industry. Music Gorilla’s 

marketplace lets artists submit for 

music and songwriting placement 

opportunities, and receive the 

opportunity to play in major label 

showcases and get feedback on 

their performances. Cadenza is 

powered by an algorithm that uses 

64 sonic data points to analyze 

your music. By sonically analyzing 

a musical track, Cadenza gives 

insights into what makes the 

music work, who will like it, other 

tracks it sounds like, and where 

the artist might find success. See 

musicgorilla.com. 

 

SIGNINGS 

Tori Amos will release 2-CD 

deluxe editions of her debut and 

sophomore solo albums, Little 

Earthquakes and Under The Pink 

on April 14 via Rhino. Each record 

is newly re-mastered and paired 

with an entire disc of rare B-sides 

and bonus tracks. The re-mastered 

versions of both original albums 

will also be released on 180-gram 

vinyl on the same date, marking 

the first time both albums will be 

available on vinyl in the US. Amos 

has sold over 12 million albums, 

played over a thousand shows 

and has had multiple Grammy 

nominations. A pioneer across 

multiple platforms, she was the 

first major label artist to offer a 

single for download, has had her 

songs turned into graphic novels, 

a successful musical and has 

produced pioneering videos. See 

toriamos.com. 

Hip-hop/metal veterans 

Hollywood Undead have 

released their fourth studio 

album, Day of the Dead, on 

Interscope Records. The album, 

the band’s first since 2013’s 

Notes from the Underground, will 

April 2015 


23

– BERNARD BAUR 

feature the current single and title 

track, “Day of the Dead.” See 

hollywoodundead.com. 

FOD Records has announced 

the April 7 release of The Key to 

the Universe, the new full-length 

album by Michael Des Barres. 

For the British singer, songwriter, 

musician, actor and co-host on 

SiriusXM’s nationally syndicated 

Little Steven’s Underground 

Garage channel, it’s a return to 

down and dirty rock music with 

heavy guitars and unflinching 

lyrics about life lived to the fullest. 

The album’s first releases will be 

the Linda Perry penned “Can’t 

Get You Off My Mind” and “I 

Want Love To Punch Me In The 

Face,” co-written with Des Barres. 

Crunchy guitars and blunt lyrics 

highlight “I Want Love To Punch 

Me In The Face.” “I believe that the 

majority of people find relationships 

almost impossible and the result 

of that is going into a love coma,” 

explains Des Barres. For the latest 

on this uncompromising artist, visit 

michaeldesbarres.com. 

Black Rebel Motorcycle Club 

have announced a release 

date of May 5 for Black Rebel 

Motorcycle Club- Live In 

Paris. The double album and 

accompanying DVD was recorded 

live at Theatre Trianon in Paris on 

Feb. 24, 2014, during the band’s 

sold-out tour of Europe. In addition 

to the full concert, the DVD 

also includes the documentary 

film 33.3% by Yana Amur, which 

shows fans an intimate side of 

the band never seen before. 

The concert film was directed by 

Bartleberry Logan and won the 

2014 UK Music Video Award for 

“Best Live Concert Film.” See 

blackrebelmotorcycleclub.com 

PROPS 

San Francisco Suicide 

Prevention (SFSP) announced 

that they will once again partner 

with Global Affront, a San 

Francisco punk rock band, to 

produce “Rock for Life,” a benefit 

concert to raise awareness and 

support for suicide prevention 

services. Rock For Life is an 

organization dedicated to suicide 

awareness and prevention through 

music. It was founded in 2012 

by Rico Colley of Global Affront 

following the loss of two friends 

by suicide. “Rock For Life not 

only raises money for SFSP, it 

also helps people understand the 

importance of mental health issues 

in the community,” states David 

Paisley, Deputy Director, San 

Francisco Suicide Prevention. To 

find out more, or to contribute, go to 

sfsuicide.org. 

Toronto, Canada’s Harris 

Institute has announced that 

the school has so far this year 

received 24 awards nominations 

(GRAMMY, JUNO, ECMA, CSA) 

in the categories of proucer, 

engineer, Country Album, 

AC Album, Best Sound in a 

Documentary and more. Harris 

alumni and faculty received 

27 awards and nominations in 

2014. To get the full scoop, see 

harrisinstitute.com. 

Founded by Quinn Boylan, the 

“Ukuleles for Ukraine” project 

aims to supply orphans in 

KINGS OF CARNAGE WIN SHOWCASE SHOWDOWN 

Music Business Entrepreneur students at the Musicians Institute (MI) in 

Hollywood, CA, hosted a “Showcase Showdown” competition for the best 

performance of a cover song. A variety of MI acts performed for a panel 

of industry judges who voted for the winner. Heavy metal band, Kings of 

Carnage took the prize with their wicked rendition of Devo’s “Whip It.”. They 

also put a metal twist on Michael Jackson’s “Beat It.” A host of grand prizes 

were sponsored by Music Connection, Bands on a Budget, Melrose Music 

Studios, Stage Red Studios and ACS Custom. Pictured are the Kings with MBE 

students. See kingsofcarnage.com and mi.edu (Music Business link). 

DIYSpotlight 

WHOLEWORLDBAND 

WHOLEWORLDBAND could be an exciting new ddition to your 

DIY toolbox. With WholeWorldBand you can make music videos 

and collaborate on songs with thousands of other musicians and 

fans. Essentially, it is an award-winning app that allows creative 

individuals to make music and videos using only an iPad or 

iPhone. 

It is the only app that features easy multi-track music and video 

recording along with a built-in rights management system. As a 

result, WholeWorldBand has been embraced enthusiastically by 

both serious professionals and emerging artists. 

The app and management system already has users ranging 

from major professionals such as Ronnie Wood (the Rolling 

Stones), Stewart Copeland (the Police), Phil Manzanera (Roxy 

Music), Dave Stewart (Eurythmics), David Gray, Within Temptation, 

Passenger, KODO and New Model Army, to thousands of up-andcoming 

artists collaborating together. 

“WholeWorldBand is the first application to address musical 

creativity and commerce with the transparency and respect 

musicians and rights holders have been fighting for,” says Gregory 

Butler, the newly appointed Managing Director of North America. A 

creator himself, Butler has worked in the music and TV industries, 

with credits on over 65 records as well as creating music for the hit 

television series Project Runway and Top Chef, among others. 

WholeWorldBand has pioneered a multi-user DIY platform that 

provides a way for bands and musicians to engage fans and manage 

digital rights so that they can earn income from their work. 

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

Have a successful DIY strategy to share? Email bbatmc@aol.com 

Cherkasy, Ukraine with clothing, 

shoes, toys, books, medicine, 

and musical instruments. As 

part of the musical aspect of 

this endeavor they will also be 

providing ukuleles, melodicas 

and kazoos to help the kids 

express themselves musically and 

creatively. There will additionally 

be English language instruction 

for the children. The project 

aims to produce video content 

documenting the situation and 

giving local charity coordinator, 

the “Ukrainian Humanitarian 

Initiative,” media content to have 

as an asset and raise awareness 

with. Donate at gofundme.com/ 

i05w48. 

Ronny North was selected 

by Big Fuss Records as an 

“Artist To Watch for 2015,” for 

his single “Into The Grey.” North 

plays his own signature brand of 

instrumental guitar rock, gets radio 

airplay, and has been featured 

in music publications, as well 

as in a variety of TV and movie 

productions. He is also sponsored 

by over 50 music equipment 

manufacturers and frequently 

performs at clinics and trade 

shows. His current release, Inertia 

(FNA Records), garnered rave 

reviews. North plans to release 

his next effort in early 2015. See 

ronnynorth.com. 

THE BIZ 

The Free Radio Alliance, a 

coalition of over 400 college, 

commercial and non-commercial 

radio stations, announced that 

the Alliance is rejoining the fight 

to oppose record labels’ latest 

attempt to enlist the government 

to levy new fees on radio 

stations. “The record labels are 

at it again,” noted Peggy Binzel, 

spokesperson for the Free Radio 

Alliance. “They want more money 

and they want Washington to give 

it to them—it’s that simple. The 

multinational record labels can 

hide behind fancy arguments about 

copyright law but in the end, what 

they want is to take money from 

radio stations and listeners who 

will get less for free so that they 

could line their own pockets.” The 

Free Radio Alliance is made up of 

big and small radio stations across 

America that bring listeners every 

genre of music. 

BERNARD BAUR was voted one of the “Top 

Music Business Journalists” in the country. 

Bernard is the connection between the streets 

and the suites. Credited with over 1,200 

features in a variety of publications, he’s a 

Contributing Editor at Music Connection. 


“I've had 1,064 TV Placements for My Music 

Because I Joined TAXI” 

Stuart Ridgway - TAXI Member 

www.pyramidmusic.com 

I'd seen the TAXI ads (just like 

this!) hundreds of times over the 

years and I was very skeptical. But 

when I got their free information kit 

and saw that the money back 

guarantee was for a full-year, I 

decided to make the leap. 

Within weeks of joining, my 

music was in the hands of some 

A-list people in the film and TV 

industry. In less than a year I got 

the call from the music supervisor 

at one of LA's hottest TV 

production companies. 

Reality TV and 

Royalty Checks 

We struck up a good working 

relationship, and when the 

supervisor needed music for a new 

daytime reality show, she asked me 

if I would like to join her team. For 

the next two years, I wrote music 

for an Emmy Award winning show, 

which aired every weekday on 

NBC. My first royalty check alone 

covered 10 years of TAXI 

memberships! All in all, those two 

seasons netted me more than 

$50,000, and the company TAXI 

hooked me up with has hired me to 

write for two other shows as well. 

Being “Great” 

Wasn't Enough 

After making more than 1,000 

cold calls, it dawned on me that 

music supervisors didn't care how 

great I was as a composer. How 

could they? They don't know me 

and that's that! I could only get so 

far on my own. 

I realized I needed someone or 

something to be my champion - 

somebody to connect the dots. 

TAXI worked for me, and if 

you're really good at what you do, 

it just might do the same for you. 

If your music is up to snuff and 

you pitch it at the right targets, 

belonging to TAXI can change 

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Get Paid for 

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Actually, I may have the 

greatest job on the planet because I 

can work in my studio all day, 

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recording guitar parts, and the 

hours easily slip by. I get paid to 

do what I love, and much of the 

credit for that goes to TAXI. 

They don't blow smoke, and 

they don't promise miracles. But 

they do keep you focused, on track, 

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TAXI's expert feedback is 

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the membership fee. 

I Volunteered to 

Write This Ad! 

There are tons of companies 

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Take my word for it. Call for their 

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June 2014 

25 

June 2014 musicconnection.com 

musicconnection.com 25

DENNIS DREITH 

Date Signed: November 2014 

Label: Perseverance Records 

Type of Music: Jazz/Fusion 

Management: Self/Magic Closet Music 

Booking: Self/Magic Closet Music, 818-943-0846 

Legal: Brian Cella, Esq. - Cella, Lange & Cella, LLC, 925-974-1112 

Publicity: NA 

Web: dennisdreith.com 

A&R: Robin Esterhammer 

W 

ell known in the industry as an influential advocate for musicians’ 

rights, Dennis Dreith served as International President of the 

Recording Musicians’ Association (RMA) for 15 years and is 

currently Executive Director of AFM SAG-AFTRA’s Intellectual Property 

Rights Distribution Fund. 

On the creative side, he has scored independent films and composed 

for TV and commercial jingles––but his bread and butter has long been 

his work as an orchestrator and conductor of top film scores (Jurassic 

Park, Braveheart, Sleepless in Seattle, The Addams Family). Dreith has 

provided services for everyone from John Williams and Lalo Schifrin to 

Marc Shaiman and Hans Zimmer. 

Now, in his mid-60s, this multi-talent is emerging as a bandleader 

and recording artist, conducting an ensemble of session and touring 

musicians on his new recording dB Reunion, credited to the Dennis 

Dreith Band, released by Perseverance Records and distributed by MVD 

Entertainment Group. 

Dreith explains, “I had been thinking about doing a reunion concert and 

a recording with musicians who played in my band during my formative 

years.” He gathered the 14-piece ensemble, performed at the Studio City 

jazz club Upstairs at Vitello’s and began recording the album’s seven 

original tracks at EastWest Studios in Hollywood. 

Robin Esterhammer, founder of Perseverance Records, attended a 

“It’s fun to make uncompromising 

jazz music for its own sake.” 

session and liked what he heard. Because of Perseverance’s renown 

as a soundtrack label, Dreith was reticent at first. He became excited, 

however, when he heard about the owner’s commitment to developing 

jazz artists and his distribution with MVD, an international company with 

a major foothold in Europe, where Dreith hopes to secure major dates for 

his ensemble. 

“It’s fun to make uncompromising jazz music for its own sake,” Dreith 

says, “and we’re excited to see how people are connecting with it.” 

- Jonathan Widran 

KERCHIEF 

Date Signed: February 2015 

Label: 825 Records, Inc. 

Type of Music: Indie Rock 

Management: 825 Records, Inc. 

Booking: kerchiefmusic@gmail.com 

Legal: NA 

Publicity: 825 Records/Froductions 

Web: kerchiefmusic.com 

A&R: mattyamendola@825records.com 

S 

urviving in today’s over-saturated industry is no easy feat. Having 

seven years experience touring with artists like Sick of Sarah 

and Taking Back Sunday, however, can help develop the skills 

necessary to succeed. At least that’s the plan set by indie-rocker Kerchief 

and 825 Records. 

After a seven-year tenure as Vanity Theft’s guitarist/backup vocalist, 

Brittany Hill moved to Tennessee to begin a new career under the moniker 

Kerchief. “I started learning how to use recording software,” Hill explains. 

“I picked up Ableton so I could learn how to produce my own EP.” After 

deciding to take her songwriting to the next level, Hill began searching for a 

session drummer. “I happened to stumble onto one of Matty [Amendola’s] 

profile pages. I asked him to do a couple tracks. He recorded three drum 

tracks and sent them back in less than a day. They sounded amazing.” 

Amendola inquired about the artist’s goals for the newly completed 

tracks. “I told him I wasn’t sure yet and he said, ‘Let me produce it, you 

“It’s important to just hit the road and 

get out there–make fans, meet new 

people, generate interest.” 

should come to New York. I think we’d work really well together.’” When 

the duo met in New York, they completed a 10-track album, Machine 

& Animals, in just seven days. Along with producing the LP, Amendola 

offered Kerchief an artist and development deal through his label, 825 

Records. Hill gladly accepted. 

“I knew that I needed someone on my team who got what I was trying 

to do and dug the style and could see the potential to help me take it 

to the next level,” Hill explains. “Matty had a master plan.” That master 

plan included Grammy-winning engineer Butch Jones (Talking Heads, 

Madonna) who worked closely with Kerchief and Amendola for the 

upcoming release. The label is also setting up a tour for Kerchief later 

this spring. 

“I've definitely learned from bands like Sick of Sarah that it’s important 

to just hit the road and get out there—make fans, meet new people, 

generate interest. I love touring and am excited to hit the road again.” 

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

– Andy Mesecher 


CAKED UP 

Date Signed: Jan. 9, 2015 

Label: Dim Mak 

Band Members: Oscar Wylde; Vegas Banger. 

Type of Music: Dance 

Management: Nate@WarpathGroup.com 

Booking: Hunter Williams, hunter.williams@caa.com 

Legal: Todd J. Mumford, TMumford@ReedSmith.com 

Publicity: Jaime Sloane - Dim Mak 

Web: wearecakedup.com 

A&R: Dim Mak, promos@dimmak.com 

s big fish within EDM’s remix scene, Oscar Wylde and Vegas 

Banger have released songs on numerous noteworthy labels, like 

AMad Decent, Buygore and Fool’s Gold. It is common within the 

genre to drop tunes everywhere, but there’s one label they’re proud to 

call home––Dim Mak. “Every artist I’ve loved has been on that label,” 

discloses Wylde. “[Label founder] Steve Aoki is why I got into music.” 

Sharing the same booking agent as Dim Mak phenomenon, the 

Chainsmokers, they’d performed a couple shows together when the duo 

behind “#Selfie” asked Caked Up to craft their official remix. The resulting 

“They treat their artists well and 

make sure you’re taken care of.” 

chart-topper naturally caused their relationship with Dim Mak to grow. 

Aoki and Wylde began communicating via Twitter and exchanging tracks, 

making the union practically inevitable. 

Although approached by other labels, Dim Mak was the obvious 

choice. “It’s a family,” explains Wylde. “They treat their artists well and 

make sure you’re taken care of. They’re looking at the big picture; 

they’re not just trying to make a quick buck.” Although they won’t get into 

specifics regarding their contract, there was plenty of post-ink celebration. 

“They don’t tell you want to do,” Wylde continues. “They give you artistic 

freedom. You aren’t pressured to put something out to please a crowd. 

They just want you to be yourself.” 

Wylde cites perseverance, keeping up with style trends and releasing 

tracks when you want as keys to reaching the top in their quirky genre. 

“And don’t pay attention to people’s bullshit,” he advises. “If people are 

coming at us, it means we’re doing something right.” 

– Andy Kaufmann 

LOIS & THE LOVE 

Date Signed: June 19, 2014 

Label: Yebo Music 

Band Members: Lois Winstone, lead vocals; Dean Sharp, guitar; Oli 

Longmore, bass; Eddie Banda, drums. 

Type of Music: Indie Rock 

Management: David Bianchi, Various Artists Management 

Booking: Mike Hayes, ICM Partners 

Legal: Gavin Maude 

Publicity: Tasya Swisko, tasya@pressherepublicity.com 

Web: facebook.com/loisandthelove 

A&R: Ben Collins - Yebo Music 

T 

he association of vocalist Lois Winstone and guitarist Dean 

Sharp dates back years, to when they were kids. In 2009 they 

reconnected on Facebook. “We talked about simply having 

a ‘jam,’” says Sharp. “It evolved into starting a band, which then 

turned into serious shit with some high-profile gigs, management and 

eventually a whole record deal and album scenario.” 

Summer 2014 found them working on tracks that would become the 

group’s debut album, Love is Louder, with producer Youth (of Killing 

Joke). He was instrumental in bringing their amalgam of ‘90s grunge, 

electro pop, Krautrock and guitar heroism to the fore. While at Damon 

Albarn’s Studio 13 in the U.K., some of the tracks they were working on 

caught the ear of Yebo Music rep Ben Collins. One day Youth brought 

“It’s a classic band signing 

tale, which doesn’t seem to 

happen anymore.” 

tracks home from one of their sessions to mix at his place. Collins 

happened to have a meeting with him that day and heard the music. 

He inquired about it and found out the band had a show that very night 

at a place called Koko in Camden. The band put him on the guest list 

and he was floored by their performance. “Ben flew back to NYC the 

next morning with a copy of our demos in his hand,” says Sharp. “He 

immediately played it for the team at Yebo, who became excited about 

it from the word go. It was that prompt! It’s really kind of a classic band 

signing tale, which is quite romantic as it really doesn’t seem to happen 

like that anymore.” 

“The Yebo deal itself was presented to us as an artist-friendly industryleading 

deal, unlike others out there at the moment,” continues the 

guitarist. “That was rather appealing to us too, knowing that our label isn’t 

out to screw us over. They are more about working with us closely and 

nurturing us as a band and as performers. It’s like they used to do in the 

old days with bands like R.E.M. and U2, bands that have all gone on to 

be gargantuan rock monsters and have stood the test of time.” 

– Eric A. Harabadian 

April 2015 


27

SESAC’s Brunch with Bryan-Michael Cox 

SESAC sponsored the 11th Annual Bryan-Michael Cox Pre-Grammy Brunch at 

L.A.’s Four Seasons Hotel. The 2014 Brunch honored artist/actor/philanthropist/entrepreneur 

T.I., Jason Geter and Damon Dash for their many philanthropic 

activities and contributions to the entertainment world. Pictured (l-r): 

Dennis Lord of SESAC and Bryan-Michael Cox. 

BMI in Blume 

on Music Row 

BMI’s popular Songwriters’ 

Workshop 

Series in Nashville 

is held monthly 

under the tutelage 

of hit songwriter 

and best-selling 

author Jason Blume. 

The next dates are 

April 14 and May 

12. There is no fee, 

but registration is 

required. Follow up 

at bmi.com. 

ASCAP EXPO in 

Hollywood 

The initial 75-person lineup and 

programming for the 2015 ASCAP 

“I Create Music” EXPO, to be 

held April 30 through May 2 at the 

Loews Hollywood Hotel in Los Angeles, 

has been announced. Now 

in its 10th year, the ASCAP EXPO 

gives new music creators access 

to a world-class gathering of music 

talent for three days of panels and 

discussions dedicated to the craft 

and business of songwriting, composing 

and producing. 

This year’s lineup includes current 

hitmakers like Savan Kotecha 

(Ariana Grande, Jessie J, One 

Direction, Maroon 5); Greg Kurstin 

(Kelly Clarkson, Ellie Goulding); 

Jesse Shatkin (Sia, Pink); Kevin 

Kadish (Meghan Trainor, Jason 

Mraz); Darrell Brown (LeAnn 

Rimes, Keith Urban); Da Internz 

(Nicki Minaj, John Legend, 

Rihanna); Ashley Gorley (Carrie 

Underwood, Brad Paisley); Sevyn 

Streeter (Alicia Keys, Ariana 

Grande, Chris Brown); and Kirby 

Lauryen (Rihanna, Kanye West, 

Paul McCartney). Also participating 

are indie favorites Andrew Bird, Ingrid 

Michaelson and Nick Thorburn 

(Islands, Serial); and artist/songwriters 

Bill Withers, Kevin Cronin 

(REO Speedwagon), Lou Gramm 

(Foreigner), Hanson, Goapele and 

many more. 

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

tration.aspx. 

It’s Like Baby, Baby, 

Baby Pro 

CD Baby’s rights management 

service for songwriters—known as 

CD Baby Pro—reports a huge year 

of growth in 2014. The service now 

represents over 54,000 writers and 

administers over 246,000 songs. 

CD Baby’s administered catalog 

grew by over 250% in 2014, after 

launching in February 2013. 

CD Baby Pro is allowing its 

members to collect for the first time 

mechanical royalties from streaming 

services both in the U.S. and 

abroad. In addition, direct registration 

of songs with over 40 foreign 

societies has accelerated payment 

to members for performances in 

these territories by years in some 

cases, whereas relying on U.S. 

PROs alone would have taken 

much longer. See cdbaby.com. 

Soundcheque Banks 

on L.A. Presence 

The U.K.’s “fair trade” music company 

Soundcheque, has landed in 

Los Angeles to expand its roster 

of U.S.-based artists and clients. 

The company extols its “fair trade” 

ethos and unrivalled standard of 

original and custom-made music 

across all genres. Soundcheque 

unites filmmakers with musicians 

around the world, and works with 

all budgets, from student documentaries 

to Hollywood features. 

Soundcheque’s CEO, Laura 

Westcott, former reviewer for the 

London paper, The Times, founded 

the company a year ago after 

seeing a gap in the market for top 

quality film music at an affordable 

price. Laura is joined in Los Angeles 

by music supervisor and former 

KCRW Radio producer Gemma 

Dempsey, and industry expert 

Mark Lo, former executive music 

producer at Cutting Edge Group. 

Music supervisor Cathi Black is the 

FREDERICK BREEDON 

Pop Cautious Sampler Release 

MC was on hand at West Hollywood’s legendary Sunset Marquis Hotel to 

celebrate the release of a sampler from the new indie Americana/roots label, 

Pop Cautious Records. Pictured with the party-goers is the label’s founder 

and namesake, Pop Cautious, in front, holding the champagne glass, with the 

white shirt and epic beard. Check out popcautiousrecords.com. 

Maddie & Tae Live it Up 

Dot Records duo Maddie & Tae recently celebrated the success of their 

debut single, “Girl In A Country Song,” for reigning supreme on several 

charts. Pictured (l-r), (front row): Maddie & Tae with co-writer Aaron Scherz. 

Pictured (l-r) (back row): Jody Williams, BMI; Mike Molinar, Big Machine 

Music’s VP Publishing; LeAnn Phelan, ASCAP; Dann Huff, producer; Scott 

Borchetta, Big Machine Label Group President & CEO and Chris Stacey, Dot 

Records General Manager. 


– DAN KIMPEL dan@dankimpel.com 

L.A. Soundcheque Rep. 

Find more details at Soundcheque.com. 

Music Biz 2015 

in Nashville 

The Music Business Association 

(Music Biz) has announced a preliminary 

schedule for its flagship 

Music Biz 2015 conference, held 

for the first time in Nashville on 

May 12-14 at the Sheraton Downtown 

Hotel. 

Martina McBride and Scott 

Borchetta will be honored during 

the awards luncheon on May 14. 

The Doobie Brothers and Waterloo 

Records & Video Owner/President 

John T. Kunz will additionally be 

honored. 

Key retailers, record labels, artists, 

managers, startups and more 

will be in attendance throughout 

the week. This year’s event will 

feature the third annual Metadata 

Summit, the Music Startup Academy 

educational sessions, and the 

Entertainment and Technology Law 

Program as well as various Special 

Interest Town Halls, Genre-Based 

Meetups, Breakout Sessions and 

Live Music Showcases. 

Find out more by going to mu 

sicbiz2015.com. 

Fifth Harmony Enlists 

Hit Songwriters 

Former X Factor contestants Fifth 

Harmony have released their debut 

studio album Reflection via Epic 

Records. The track “Like Mariah” 

features Tyga, was co-written and 

produced by J.R. Rotem and also 

co-written by Raja Kumari. 

Winners of MTV’s “Artist To 

Watch” award at the 2014 VMA’s, 

and labeled as the “#1 most 

influential X Factor contestant of 

all time” by Fox, Fifth Harmony 

collaborated with some of music’s 

most successful songwriters and 

producers. “Like Mariah” is the 

first collaboration between Rotem, 

Kumari and Fifth Harmony. You 

can get additional information at 

fifthharmonyoffical.com. 

BMI Names 

Ann Sweeney 

Broadcast Music, 

Inc. (BMI) has 

announced that 

Ann Sweeney 

has been named 

Senior Vice President 

of Global 

Policy, effective 

immediately. She 

reports to Mike 

O’Neill, President 

and CEO, BMI, and 

is based in BMI’s 

New York office. 

Wockner Tops 

at IAMA 

Carl Wockner became the first 

Australian to ever win the top award 

at IAMA (International Acoustic 

Music Awards). With his latest 

International Acoustic Music Awards 

top award win, and a 2014 ARIA 

(Grammy equivalent) nomination 

for the release of his new album 

Crayon Days with producer Michael 

Flanders in Nashville, TN, Wockner 

has scaled the charts with his first 

two single releases receiving high 

rotation to national radio in both 

Australia and the U.S. More details 

at inacoustic.com. 

Kobalt Gets the 

Big Bucks 

Kobalt has announced it has raised 

a $60 million Series C funding 

round with Google Ventures, MSD 

Capital, L.P., the private investment 

firm for Michael S. Dell and 

his family, which is a current Kobalt 

investor, and MSDC Management, 

L.P. This financing round adds to 

the $66 million already raised by 

the company. 

The new funding will be used to 

develop and scale Kobalt’s suite of 

technology solutions that efficiently 

collect and report music royalties. 

The company's roster includes 

Beck, Dr. Luke, Foo Fighters, Kelly 

Clarkson, Maroon 5, Max Martin, 

Paul McCartney, Pitbull, Ryan 

Tedder, Sam Smith, Skrillex and 

others. Kobalt offers its clients 

a variety of services, including 

creative services, synch & brand 

partnerships, global licensing management, 

neighboring rights, works 

and rights distribution, royalty 

collection and processing, online 

data and royalty statements, record 

release management, and digital 

marketing and monetization. See 

Kobaltmusic.com. 

DAN KIMPEL, author of six music industry 

books, is an instructor at Musicians 

Institute in Hollywood, CA. He lectures at 

colleges and conferences worldwide. 

Estelle Builds with Empire 

Grammy-winning artist Estelle’s song “Conqueror” has skyrocketed after her 

special duet version aired during a recent episode of FOX’s Empire. Performed 

by Estelle (who guest starred as Delphine, the newest artist to sign with Empire 

Entertainment) and Jussie Smollett (who plays Jamal), “Conqueror” is the 

highest-charting song from the series to date. Pictured (l-r): Estelle and Smollett. 

Elizabeth 

Matthews 

ASCAP CEO 

Elizabeth Matthews 

has been named the 

new Chief Executive 

Officer of ASCAP, 

which now represents 

more than 520,000 

music creators. 

Matthews, who has 

served as Executive 

Vice President and 

General Counsel at 

ASCAP since 2013, 

was a unanimous 

choice among the 

Board’s 12 writer 

and 12 publisher 

members. 

BMG’s Global Hits 

BMG’s Los Angeles offices were the location for a networking party following 

the International Writer Services Conference. The event showcased the reach 

of BMG’s international writer services, which has translated into chart hits 

around the globe. Pictured (l-r): Nigel Rush, manager; Robin Godfrey-Cass, 

manager; Thomas Scherer, EVP BMG Global/Writer Services BMG Chrysalis 

U.S.; Zach Katz, Chief Creative Officer BMG Chrysalis North America; Sacha 

Skarbek, songwriter; and Kate Sweetsur, VP Creative BMG U.K. 

April 2015 


29

John Moreland 

Songs from Oklahoma, Sons of Anarchy 

By Dan Kimpel 

F 

rom Woody Guthrie through Jimmy Webb, the state of Oklahoma has 

provided American music with an impressive roster of influential songwriters. 

Add 29-year-old singer/songwriter John Moreland to this list. 

On this morning, Moreland is recovering from what he recalls was a 

rough night out cheering on some musician friends at the local club. The 

songwriter speaks with a frankness that mirrors his spare lyrical approach 

as he speculates that the wealth of Oklahoma songwriters could be partly 

due to its geography. “Maybe that songwriting tradition from Texas bleeds 

up to Oklahoma. There is this generation of people now in their 20s that 

are looking back to guys like Bob Childers and the Red Dirt Rangers and 

Jimmy LaFave who were doing it in the ‘80s. There has always been this 

Oklahoma-Austin connection.” 

Prior to his acoustic career 

Moreland played in hardcore 

bands and became a songwriter 

by default. “Everything in that 

genre is so riff based that it takes 

a guitar player to come up with it. 

There’s not a lot of melody vocally.” 

Language, he says, is what made 

him change his focus. “The way a 

song can hit you if you understand 

what’s being said. Not that there’s 

no validity to just screaming things 

at people, but a song can have a 

different kind of emotional impact if 

it has a melody.” 

In his songs, Moreland draws a 

sharp bead on people, places and 

small towns. “There’s something 

about tying music together with 

geography. I remember talking to my sister when I was a teenager about 

punk rock, these bands and where they were from. She said, ‘It’s really 

weird that you know where every band is from.’ I don’t think most people 

care. It’s always been interesting to me.” 

Three of Moreland’s songs were utilized to add musical atmosphere 

to the FX biker drama Sons of Anarchy. He acknowledges that because 

his lyrics are so specific, this makes them difficult to pair with the visual 

medium. “I always figured I would have a hard time getting on TV for that 

reason, but Sons of Anarchy is the only show that has shown interest, so 

maybe I was right. I was just glad they would have anything to do with me.” 

Moreland is set to release his latest full-length project, High On Tulsa 

Heat, on the indie Thirty Tigers. The project was recorded in his parents’ 

house. “They were going out of town for a couple of weeks. I called a 

couple of buddies and said, ‘Let’s go up to Tulsa and record.’ They have 

this real big living room where we did the drums; the main thing was I 

couldn’t record in my house in Norman because I’m pretty sure my neighbors 

would have called the cops. It was done on a day’s notice; a record 

made on a whim.” For audio quality control, Moreland prefers to listen in 

the car. “When I’m mixing, that’s my gold standard test because the car 

stereo test is extremely average.” 

If Moreland’s recording process seems slapdash, his songwriting is 

anything but. He adheres to the process of an extensive rewriting regime, 

sanding down his lyrics to their essential core. “I will generally write a whole 

lot, then edit what I want to take out. And I’m usually left with lyrics that I 

like.” Leaving a song open to interpretation, even by its creator, Moreland 

continues, is an indispensable part of his songwriting awareness. “I don’t 

want to limit people’s perceptions. I don’t know enough of what it’s about 

to be specific. The goal is to channel something from your subconscious. 

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

The modest songsmith reaps effusive praise from Americana journals 

and media pundits. His live shows attract a multi-generational following 

and he tours regularly. Although his latest collection reveals the deepest 

issues of life, love, home and heart, he maintains humble aspirations. “I 

just want keep doing what I’m doing. I’m still in disbelief that I get to make 

up songs and play music and not have a really shitty job that I hate.” 

Contact Donica Christensen, All Eyes Media, LLC, 615-227-2770, 

donica@alleyesemedia.com 


Shhh... 

 

David 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Follow us on 

January March April 2015 


51 47 49 

31

DROPS 

Rockin’ teen duo V 2 (pronounced V Squared) 

have been racking up accomplishments and 

accolades the past few months, not only 

blowing away the crowd at the Los Angeles 

Music Awards (a clip has received over 

one million views on YouTube: youtube.com/ 

watch?v=4V8avNQ0v2E), but the young band 

(brothers Vittorio and Vincenzo) have been 

starring in a 30-minute documentary airing on 

MTV’s Palladia Network, titled V 2 Behind the 

Scenes: The Making of 11 Year Old Rock 

Superstars. The duo’s debut album, produced 

by Ron Nevison (the Who, KISS, Heart), was 

released Feb. 24 (itunes.vsquared.rocks). Their 

second Nevision-produced record, titled Pass 

the Rock N Roll Torch, has been completed 

and is slated for release this fall. For further information 

about the band, see VSquared.rocks. 

GUITAR HEROES 

V 2 

On May 5, Stony Plain Records will release 

Guitar Heroes, a live recording on both CD 

and vinyl that teams acclaimed guitar masters 

James Burton, Albert Lee, Amos Garrett and 

David Wilcox, who have shaped the sound of 

popular music since the 1950s. The LP version 

will be pressed on 180-gram vinyl and also 

include a card enabling purchasers to download 

the full 11 tracks on the CD edition. These 

four telecaster players are captured during a 

one-time special performance at the Vancouver 

Island MusicFest on July 12, 2013. Members 

of Albert Lee’s regular touring band backed the 

players at this show, including Jon Greathouse 

(keyboards/lead vocals), Will MacGregor 

(bass) and Jason Harrison Smith (drums/ 

background vocals). Contact Mark Pucci at 

MPMedia@Bellsouth.net. 

Universal Music Enterprises has announced 

a rollout of 26 individual soundtrack albums 

on vinyl––including John Williams’ scores 

to E.T. and Jaws; Blaxploitation classics like 

Willie Hutch’s The Mack, J.J. Johnson’s 

Willie Dynamite, Marvin Gaye’s Trouble 

Man and the hip-hop-flavored Juice. Other 

releases include Oscar winners such as The 

Godfather, Silence of the Lambs, Rocky 

and Good Will Hunting, and 

cult movies like Paul Thomas 

Anderson’s Boogie Knights, 

John Landis’ Animal House, 

Tim Burton’s Beetlejuice, 

Amy Heckerling’s Clueless 

and Spike Lee’s Do the Right 

Thing. Among the most recent 

to drop are the Coen brothers’ 

2002 Grammy-winning 

Album of the Year soundtrack 

to O Brother, Where Art 

Thou? and the vinyl release for 

Boogie Nights is coming up in 

April. Contact Keren.Poznansky@UMusic.com 

On April 3, Sony Pictures Classics releases 

Lambert and Stamp, a documentary that 

LAMBERT AND STAMP 

delves deep into the Who’s formative years. 

It distills the story of Chris Stamp and Kit 

Lambert, two filmmakers who set out to shoot 

a documentary on Who precursors, the High 

Numbers. As they stepped into the role of comanagers, 

the pair found themselves 

on a path that would 

alter their lives and the course 

of rock indelibly. Intimate 

recollections from Who brethren 

Stamp, Daltrey and Townshend 

are weaved throughout 

the film, which is filled with 

archival footage. Contact Ekta 

Farrar at EFarrar@BK-PR.com. 

Eagle Rock Entertainment 

has released the Live At 

Knebworth concert film on SD 

Blu-ray. Filmed in 1990 at the 

Knebworth House in Hertsfordshire, 

this benefit concert for 

Nordoff-Robbins Music Therapy and The Brit 

School For Performing Arts featured an all-star 

line-up, comprising legends who all previously 

received the Nordoff-Robbins Silver Clef 

Award: Paul McCartney, Eric Clapton, Pink 

Floyd, Robert Plant, Elton John, Phil Collins, 

Genesis, Dire Straits, Tears For Fears, Cliff 

Richard & The Shadows, and Status Quo. 

See why this show has been called “The Best 

British Concert of All Time.” Contact Carol Kaye 

at Carol@Kayosproductions.com. 

OPPS 

A Los Angeles-based group is launching an 

online platform in May similar to Hulu and seeks 

existing completed projects for distribution. Projects 

can include short- and long-form content, 

TV series and films. Visit LosAngeles.Craigslist. 

org/wst/tfr/4920469666.html for details. 


A production company in Los Angeles needs 

a commissioned composer to write music for 

two short songs––about a minute each––for an 

original, fantasy production. The lyrics are written 

and can be received by requesting them upon 

submitting an application. The composer should 

draw from the late ’20s and ’30s for inspiration. 

Apply with links to previous work at LosAngeles. 

craigslist.org/lac/tfr/4917589441.html. 

Complex Media of New York wants a director/ 

shooter/editor to fill a full-time position. The 

company produces 

content 

for young male 

tastemakers 

and its network 

consists of more 

than 120 sites 

that generate 

over one billion 

page views 

and 100 million 

unique visitors 

each month. Complex TV is the company’s 

newest platform for originally produced series, 

co-productions and other content. Applicants 

should be experienced in digital production and 

able to create short form video content including 

branded content and music videos. Visit tinyurl. 

com/ohwf8ca for details. 

PROPS 

GoPro, Inc., enabler of some of today's most 

engaging content, announced the launch of the 

Done in One campaign, offering musicians an 

opportunity to capture their best GoPro musical 

moment in one take. The ongoing multi-tiered 

national campaign is 

co-presented by Guitar 

Center and GoPro. 

Contestants will submit 

their best raw GoPro 

music clip for a chance 

to win career supporting 

prize packages 

from Guitar Center, 

GoPro and participating 

musical instrument 

partners. The ultimate 

grand prize includes 

$20,000 in cash and 

gear from GoPro, 

$5,000 to spend at 

Guitar Center and over 

$40,000 worth of gear 

from top music instrument 

partners. For 

complete details, visit 

tinyurl.com/q63vory to 

enter, or contact Kelly BLUNT TALK 

Baker at KBaker@Go 

Pro.com for details. 

Musician and actor Moby is just one of many 

prominent names to make an appearance in the 

STARZ original series Blunt Talk. STARZ has 

cast several recurring and guest roles for the 

first season of the half-hour scripted comedy 

series from MRC and executive produced by 

Seth MacFarlane, Jonathan Ames, Tristram 

For exclusive video interviews with the 

likes of Art LaBoe, Simon Napier-Bell and 

John Carpenter, check out MC’s Blogs 

area at musicconnection.com/mcblogs! 

Shapeero and Stephanie Davis. Ed Begley 

Jr. of Arrested Development, Mary Holland 

of Parks and Recreation, Soni of Safety Not 

Guaranteed and Romany Malco of Think Like 

a Man have been cast in recurring roles on the 

series. For more information, contact Abbie Harrison 

at AbbieH@FerrenComm.com and visit 

tinyurl.com/poqcxkb for a video teaser. 

On a program that also included immortal Russian 

composer Tchaikovsky’s Symphony No. 

6, “Pathétique,” eight-time Academy Awardnominated 

film composer 

James Newton 

Howard 

had his first 

symphonycommissioned 

work, “I Would 

Plant a Tree,” 

performed by 

the Pacific 

Symphony. 

The performance, featuring Grammy-winning 

violinist James Ehnes, was recorded live for a 

CD release. 

Congratulations are in order for music producer 

Jerry Goldstein. Recently a Los Angeles 

Superior Court decision paved the way for him 

to release The Last Experience, never-beforeseen 

Jimi Hendrix concert footage, behind-thescenes 

views and unique insight into the life of 

legendary artist, filmed on his final European 

1969 concert tour. 

Says Goldstein about the judgment, “I'm 

pleased with the outcome, and now I can move 

forward with the worldwide 

release of this 

amazing movie, which 

Jimi and I planned on 

distributing over 45 

years ago.” 

He adds, “Our current 

plan is to release 

the movie in IMAX 3D, 

so that people can truly 

experience the power 

and impact of Jimi 

Hendrix, as if they were 

there in person. We see 

this as a great opportunity 

for fans around 

the globe to relive the 

greatest performance 

that he ever filmed and 

recorded.” 

The Last Experience 

primarily captures a 

day in the life of the 

legendary guitarist 

centered around the 

fabled Feb. 24, 1969 

performance at Royal Albert Hall in London. 

The film was produced and recorded by 

Goldstein and the late Steve Gold with the 

intention of assembling and distributing a motion 

picture around the performance. Hendrix 

died on Sept. 18, 1970 at age 27. 

For additional details about this film project, 

contact Sandy Friedman, sfriedman@rogers 

andcowan.com. 

JESSICA PACE lives in the Nashville area and writes about 

music, local government and education. Contact her at j.marie. 

pace@gmail.com. 

– JESSICA PACE j.marie.pace@gmail.com 

Jeff Parry 

Promoter 

Out Take 

Contact: Jeff@annerin.com 

Web: Annerin.com 

Most recent: Let It Be 

IN FEBRUARY, the Annerin Productionsproduced 

concert Let It Be launched its 

first North American tour (apart from a 

successful 2010 run on Broadway) with 

a string of dates through Canada and the 

U.S. A musical tribute to the Beatles, Let It 

Be went worldwide in just over two years 

with performances in Russia, Japan, the 

U.K., Singapore, France, Germany, Switzerland 

and New Zealand. 

The show’s producer, Jeff Parry of 

Annerin Productions, started out working 

on oil rigs in small-town Alberta to make 

money before falling into promoting. 

“Put your head between your legs and 

kiss your ass goodbye” is the sage advice 

that Parry imparts to anyone contemplating 

theater promotion as a profession. Parry 

has been one for 35 years and has experienced 

some of the most trying hurdles 

in the game––including a 2013 lawsuit 

filed by the creators of the Beatles tribute 

show Rain, which had a run on Broadway 

in 2010 and 2011. The suit accused Let it 

Be of ripping off Rain, but was ultimately 

dismissed. 

Let it Be launched in fall 2012, 50 years 

after the Beatles released their first single, 

“Love Me Do,” in 1962. It was introduced 

on London’s West End in September. The 

production features more than 20 of the 

Fab Four’s greatest hits, traces the group’s 

rise from Liverpool’s Cavern Club to 

Beatlemania to the end of the road. 

“Don’t be in love with the shows you’re 

promoting,” Parry warns, despite the fact 

that he was made a Beatles fan at a very 

young age, and now produces the only 

show featuring their music that has played 

London’s West End and Broadway. “I 

didn’t want anything to do with this [show], 

but it was inevitable.” 

By way of advice to aspiring musical 

theater producers, Parry says: “Most don’t 

have the stomach for it. There’s a saying: 

if you can take $25,000 in cash, put it on 

the driveway, douse it in kerosene, light it 

on fire and watch it burn, you can probably 

be a promoter.” 

April 2015 


33

Hall & Oates & Stern 

Rock & Roll Hall of Famers Hall & Oates made their first appearance together 

on Sirius XM’s The Howard Stern Show in New York where they played some 

tunes and discussed the key moments of their enduring career. The duo were 

promoting their new Blu-ray video release, Live from Dublin. Pictured (l-r): 

Manager Jonathan Wolfson, Daryl Hall, Howard Stern, John Oates. 

20 Years and Counting 

Two decades after forming in 1995, Larry “Fuzzy” Knight and the Blowin’ 

Smoke Rhythm & Blues Revue are still going strong, entertaining audiences at 

festivals and better nightclubs throughout Southern California, often accompanied 

onstage by renowned guest musicians. The band recently announced 

the addition of a new member to the Blowin’ Smoke lineup, Don Preston. For 

more information, visit blowinsmokeband.com. 

WOLFSON ENTERTAINMENT 

Common Wins Best Original Song 

The Society Of Composers and Lyricists’ Oscar reception at La Boheme in 

Hollywood, CA was jam-packed with stars, nominees and people who make 

it happen behind the curtain. Pictured (l-r): Oscar-winner for Best Original 

Song, Common; Shari Hoffman, Director, Domestic and International Operations, 

AFM & SAG-AFTRA IRPD Fund; and Terry O’Neill, Research Analyst, 

SAG & AFTRA IRPD Fund. 

BRIAN STEWART 

Seger Rides Out 

on Tour 

Bob Seger played 

a near-sold out 

show at the Los 

Angeles Forum. At 

69, Seger continues 

to rock arenas and 

entertain audiences 

nationwide. He 

was touring in 

support of his latest 

release, Ride Out, 

on Capitol Records, 

which is his first release 

in eight years 

and second release 

in 19 years. For 

additional info, visit 

bobseger.com. 

ALEX KLUFT 

Memphis Native Wins Guitar Center Grand Finals 

Lanita Smith is the winner of the Guitar Center Singer/Songwriter artist discovery 

program and will receive prizes including a Casio Privia digital piano. 

As the winner, Smith will also receive the opportunity to record a four-song 

EP with Grammy Award-winning producer Don Was, mentorship from Grammy 

Award-winning singer/songwriter Colbie Caillat, a performance on Jimmy 

Kimmel Live!, $25,000 cash, new music equipment and more. To view her 

performance, visit youtu.be/E4pQnTIsAxk. 

GUITAR CENTER 


– SIRI SVAY siri@musicconnection.com 

Tidbits From Our 

Tattered Past 

SIRI SVAY 

MC Power Networks at SXSW 

At this year’s SXSW festival, Music Connection organized a standing-room-only panel, moderated by music attorney Glenn 

Litwak, on Power Networking in the Music Business featuring Emily White, Whitesmith Entertainment & Dreamfuel; Qiana 

Conley, cue the creatives; and Allison Shaw, incroud. In addition, MC sent a three-person crew to photograph, record 

and interview musicians, including Years & Years, Plain White T’s, Smallpools, Cody Simpson, GRiZ and Holly Elle. 

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

Christmas in 

Spring 

The four-time Grammy-winning, 

20-time 

nominated Gordon 

Goodwin’s Big Phat 

Band—which won 

Best Large Jazz 

Ensemble Album 

for Life in the 

Bubble—gathered 

at Capitol Records’ 

historic Studio A the 

first week of 2015 

to record a currently 

untitled upcoming 

Christmas album. 

Pictured is Goodwin 

(center) surrounded 

by his high-energy 

crew. 

1983–X, Lee Ving–#11 

Punks Exene Cervenka 

from X and the volatile Lee 

Ving of Fear were branching 

out into writing poetry 

and film acting, respectively, 

when Ving (Flashdance 

and Streets of Fire), 

who’s sometimes known 

as the former Don Rickles 

of punk, told MC: “[A 

friend] once told me that 

actors who are typecast as 

psychotics never starve, so 

I took that to heart.” 

Raindrops Keep 

Fallin’ 

Continuing its tradition 

of hosting talks and 

performances from both 

contemporary hit-makers 

and legends, The Grammy 

Museum hosted “An Evening 

with B.J. Thomas,” celebrating 

the five-time Grammywinning 

singer’s legacy. 

After a spirited Q&A session 

with Grammy Foundation 

VP Scott Goldman, Thomas 

engaged in an acoustic set 

of his best-loved hits, including 

a surprise duet with 

singer and longtime friend 

Steve Tyrell. 

1990–Clint Black–#6 

Black was a country music 

newcomer enjoying the 

platinum success of his 

debut, Killin’ Time, when 

he stated to MC: “There’s 

a lot of people always looking 

for record deals. That’s 

going about it backwards. 

First, you have to find a 

manager.” Also in this 

issue are profiles of the 

Meat Puppets, UB 40, producer 

Russ Titelman and 

songwriter Steve Diamond 

and newly signed band 

Shotgun Messiah. 

April 2015 


35

THE TERM “BROTHERHOOD” SIGNIFIES 

a special relationship, a friendship like no 

other, built out of respect and love, where 

friends will always have each other’s back. 

That is the bond described by Alex Gaskarth 

of pop-punk band All Time Low. Since the 

very beginning, starting as a garage band 

from Towson, MD—a Baltimore suburb—the 

four band members have stuck together for 

over a decade, living their dreams, making 

music and traveling the world. 

In that time the Warped Tour veterans 

have accumulated 120 million combined 

views from their music videos and have hit 

No. 1 with multiple albums on Billboard’s 

Rock and Alternative Albums charts. Even 

with such accomplishments, the quartet 

isn’t looking to slow down, and have their 

sights set on adding to the list with their 

sixth studio album, Future Hearts. 

Before he embarked on a tour of Europe, 

frontman Gaskarth spoke candidly with Music 

Connection. In the following interview he 

unravels the facts on the band’s hands-on 

approach to their career and unapologetically 

reckless image, life on tour and their 

upcoming Hopeless Records album, due out 

April 7. 

Music Connection: We still have a poster 

of All Time Low in our office from the Nothing 

Personal era. It’s inscribed to our Senior 

Editor Mark Nardone and it says, “Hey Mark, 

Fuck You! –Nothing Personal.” That was, 

shall we say, a unique tactic to try to ingratiate 

yourselves to a magazine staff and it depicts 

you guys perfectly: you’re fun and not afraid to 

express yourself. Do you work with a team to 

build your image that way? 

Alex Gaskarth: No. [laughs] Absolutely not. We 

just have fun with what we do. The interpretation 

that we branded ourselves that way is happenstance. 

We kinda don’t take ourselves seriously. I 

think we’re very lucky to do what we do. We take 

full advantage of the fact that we get away with 

having a very interesting career. I think that’s a big 

part of what’s defined this band. We always try to 

keep it fun, keep it lighthearted. 

MC: How do you utilize social media to 

spread the fun to your fans? 

Gaskarth: Social media has been a 

big thing for us. We were one of the 

first bands on PureVolume and 

one of the first bands to have a 

music account on Myspace—years ago when 

that stuff first launched. From there, it’s obviously 

evolved into Facebook, Twitter, all those 

things. We really love Twitter because you get 

to choose what you put out there, and it’s sort 

of a direct line to the fans, which is amazing. 

I love the fact that we can share any aspect 

of our day, our tour or our lives, and you can 

interact back and forth. I think that’s helped our 

band grow and maintain a grassroots following 

throughout our career. 

MC: Has social media been a key resource in 

your career? 

Gaskarth: It’s certainly been one of our biggest 

forms for reaching out. Like I said, from the days 

of Myspace and PureVolume to Twitter, Tumblr, 

Facebook and all those things we use now to 

communicate with our fanbase and followers— 

we rely on them. It’s how we promote our tours, 

promote our videos, promote our music. It’s how 

everybody finds out about us really. 

MC: You guys are pretty good at doing everything 

yourselves! 

Gaskarth: [laughs] We have an awesome 

team behind us. We have a really great partnership 

with our label. The cool thing about 

the way this band is developed is that we 

are very hands-on. We really have a lot 

of control over our brand and 

over our music and what 

we do. That has 

really helped us sustain our career for however 

long it’s been so far. 

MC: Because you are so hands-on, how do you 

balance the artist life with normal life? Or do 

they blur together into one entity? 

Gaskarth: It is sort of a blur. There are definitely 

aspects that are nice to step away from every 

now and then and not worry about or not think 

about. But for the most part, one isn’t superinvasive 

with another. Since we’ve grown up this 

way, it’s become so natural for us—this is our 

life. It’s not like having these two ideologies competing 

with each other: being in a band or trying 

to be normal. Being in a band is normal for us. 

MC: Another way to connect with fans is 

through live shows. You guys have been touring 

since your last album, Don’t Panic, in 2012. 

How does touring play an important role in your 

career right now? 

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


Gaskarth: Touring has probably been one of 

the bigger aspects of All Time Low. Pretty much 

since we started––officially as a signed band in 

2003––we’ve been on the road a majority of the 

time. So touring has been 75 percent of what 

makes our band. We live on the road, we live 

on tour, and it’s really helped grow us because 

we haven’t always had television, radio or 

whatever it may be—those other markets that 

help you get into the mainstream. When we 

started, we used being on the road to promote 

ourselves through word of mouth—that’s what 

it’s really been all about––so touring has been a 

massive thing for us. 

MC: You guys definitely get rowdy onstage. 

[Guitarist] Jack always has a mountain of bras 

hanging from his microphone stand, and you 

had pink hair at one point during Warped Tour. 

What makes a good live show? 

Gaskarth: I’ve always been about performance 

and the aspect of interaction between band and 

audience. Some bands use theatricality, some 

bands just go out there and play their songs, 

but it’s always important to us to add to the 

experience. If I wanted to hear a band play their 

songs perfectly, I would just listen to the CD. A 

big thing for our mindset has always been, “Hey 

let’s play our songs, but we’re here in this room 

with all these people, let’s make it an experience.” 

It’s always been about interaction with 

the crowd and making it something more than 

just hearing a band play their music. 

MC: Since you’re on tour a lot, do you work on 

music while you’re on the road? 

Gaskarth: A little bit. I don’t do too much writing 

on the road. I find it’s very hard. There are a 

lot of distractions when you’re on the road. We 

always have a million things going on every 

day. Finding time to write and write well is hard. 

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

Inspiration’s a weird thing like that––kinda pops 

out of nowhere. You have to be able to work 

whenever, but at the same time, we’ve always 

embraced our down time and the time off to 

work, to be our creative outlet. 

MC: So you’re more of the type to buckle 

down and set aside time for writing. 

Gaskarth: We prefer to do it that way, 

just to clear our heads of distractions and 

focus on being creative. We’ve always 

handled it that way. 

MC: Where do you draw inspiration from? 

Gaskarth: All over. Our songwriting is always 

very honest, very personal. Sometimes we draw 

inspiration from other things we’re seeing: books, 

movies, anything like that. But for the most part 

it all comes from our life experiences and stuff 

that’s going on in our lives all the time. 

MC: You wrote for 5 Seconds of Summer’s album. 

Is the songwriting process different when 

working with or for another artist? 

Gaskarth: Yeah, I’d say so. When I write for 

another artist, I get inside their head a little bit 

and try to write from their perspective. How 

would this person say “this?” Approach it from a 

little different angle. 

It kinda depends. If I’ve written a song on the 

side and I didn’t get to be in the room with the artist 

or the band, that’s a little bit different—‘cause 

then I’m just guessing and hoping that it’s a good 

fit. But if I actually have the chance to sit down 

and work with another artist, then yeah, it’s a 

different approach ‘cause I try to embrace where 

they’re coming from and write with their voice. 

MC: How do songwriting opportunities like 

those come about? Does the other band approach 

you or do you approach them? How do 

you get those gigs? 

Gaskarth: With 5 Seconds of Summer, it was 

serendipitous almost. They were working with 

a friend of mine, John Feldman, who produced 

our newest record. He was working with them 

on their new album. While writing, he asked 

them who some of their favorite bands were, 

and they got into this style of music through 

All Time Low. So they asked John if we could 

work together, and John built the bridge that 

connected us. We sat down together and wrote 

a bunch of songs. It was awesome. 

MC: John Feldman worked with you on your 

upcoming album, Future Hearts, and also on 

a previous one, Dirty Work. How did the band 

decide to bring him back for the next album? 

Gaskarth: It had a lot to do with the fact that 

we didn’t get to fully work on a project together. 

We worked on 5 Seconds of Summer, we had 

written some songs for All Time Low in the 

past. It came down to us looking for a producer, 

and he was available. It just felt right. John’s a 


All Time Low has released 18 

music videos. 

“Toxic Valentine” is a song by All 

Time Low featured on the Jennifer’s 

Body soundtrack in 2009. 

The band released a documentary, 

titled Straight to DVD, in 2010, 

which also featured a live album of 

the New York show from the 2009 

Glamour Kills Tour. 

The band has performed live 

on MTV, Jimmy Kimmel Live and 

The Tonight Show with Conan 

O’Brien. 

great guy and we had done good work together 

already, so it felt like the right time to bring him 

onboard for a majority of the project. 

MC: How does Future Hearts compare stylistically 

to your past albums? 

Gaskarth: It definitely feels like growth—it’s an 

expansion. When we wrote and recorded Don’t 

Panic, it felt like a fresh start for us. So I equate 

that to being the new phase of All Time Low, 

and then [Future Hearts] feels like the next step 

in that new process. We tried some new things, 

we’ve got some new sounds, but it’s still the All 

Time Low that people expect and hopefully love. 

MC: Most artists want to maintain their sound 

to cater to their fans, but can experimenting be 

beneficial as well? 

In 2013, Gaskarth and Barakat 

hosted a podcast titled, Full 

Frontal, on idobi Radio. It featured 

content about music, pop culture, 

relationship advice and more. 

Singles “Dear Maria, Count Me 

In” and “Weightless” have been 

certified Gold in the U.S. 

Gaskarth wrote “Kiss Me, Kiss 

Me” for 5 Seconds of Summer’s 

self-titled hit album. 

Future Hearts will feature Mark 

Hoppus of Blink-182 and Joel 

Madden of Good Charlotte. 

Gaskarth: Absolutely. With every record, every 

session and every creative process you have 

to push yourself and go beyond what you did 

last time. I don’t think it’s ever good to write the 

same thing over and over and over again. At 

the same time, for All Time Low, we’ve never 

wanted to alienate our fan base or throw such 

a curveball that suddenly we’re not the same 

band anymore. Some of my favorite bands 

have done that in the past, and it’s always been 

disappointing to me personally. We try to avoid 

that as much as we can but still push things 

forward at the same time. 

MC: You released the new album’s first single, 

“Something’s Gotta Give,” along with a music 

video. Is the song representative of the sound 

for Future Hearts? 

Gaskarth: Yeah, “Something’s Gotta Give” was 

the right first single because we felt that it bridges 

the gap between Don’t Panic and the new 

album. It’s not the most obscure or the weirdest 

song on the record, but it’s also one that we 

thought was acceptable, fun and catchy. We felt 

it was a great way to start things off and was 

definitely representative of what’s to come. 

MC: The album is going to be released by indie 

label Hopeless Records, who you’ve returned 

to after a stint with a major label. Tell us about 

your relationship with them. Does Hopeless provide 

tour support, promotions…? 

Gaskarth: As a band, from a business standpoint, 

we have never taken tour support. Tour 

support is one of those things that you’re really 

just putting yourself into more debt. Most label 

situations from the business side of things— 

when you take tour support contractually—you 

usually have to pay that back from your record 

sales. We’ve never done that. We’ve financed 

everything ourselves and been pretty self-contained. 

That’s how we do things. 

But Hopeless has been an amazing partner 

to have––all the way through. They signed us in 

2006 originally, and we were with them for several 

years. Then we had a brief partnership with 

Interscope Records for one record, which didn’t 

quite work out. We parted ways with Interscope 

and re-signed with Hopeless on a slightly different 

deal structure, and it’s been awesome. 

MC: How different was it being with a major as 

opposed to an independent? 

Gaskarth: It’s big business. You go from 

knowing everyone on the staff at Hopeless to 

having a team at Interscope, but there’s a lot of 

unfamiliar faces there and people that you don’t 

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know at all times. For us, it wasn’t the right fit 

because we work better with a small team and 

with people we have a relationship with and can 

manage ourselves and our team cohesively and 

coherently. It was a little more difficult to do that 

with Interscope. 

It’s a much different world once you go with 

a major label. You’re usually working with a 

bigger budget and more money, which is a nice 

thing. But at the same time it’s a lot less personable 

and a lot less finessed. 

MC: You guys also work with Glamour Kills 

clothing. How did you establish that relationship? 

Gaskarth: Glamour Kills has been a brand that 

we [associated with] from the start. They were 

running out of the New York/New Jersey area 

and were always at the shows promoting their 

line. It became one of those situations where 

we partnered up at an early point in both of our 

careers. They were a fledgling clothing company, 

and we were a young band. 

I always love partnerships between brands 

and bands when it’s done right. I think back to 

Blink-182 with Hurley and Atticus. We took a 

note from that and branded ourselves around 

this clothing line. The cool thing about music is 

that it influences more than just music. Music 

has a lifestyle brand around it, depending on 

what kind of music it is. With fashion, it was one 

more way to influence the culture that was built 

around our music. 

MC: All Time Low started a trend there with 

Glamour Kills—other bands are taking partnerships 

with them too. 

Gaskarth: Glamour Kills has done really well. 

They’ve thrived. They’ve embraced the scene 

we created together. That’s been an amazing 

thing. It’s helped out a lot of bands, and the 

bands continue to help build it as a brand. Now 

[Glamour Kills] have their own tour every year, 

they have shows that they do, all kinds of cool 

stuff going on. 

MC: Do you have any other endorsements? 

With instruments or music gear? 

Gaskarth: I work with Fender on my guitars 

now. Zack, our bass player, also works with 

Fender. Jack has been working with ESP for 

his guitars. Rian plays SJC drums, which is an 

awesome drum company––Rian has been with 

them for years. 

You find the people who you like working with 

and you partner up, and it becomes beneficial 

for everyone. Fender has been great to us, and 

they take care of our needs and always make 

sure we have rippin’ guitars for tour. If things 

break, they get right on it. That’s the most valuable 

thing for us––people who have our back. 

playing in Rian’s parents’ basement. Just doing 

it for fun. It was never initially something that we 

ever saw becoming a career necessarily. We 

started playing shows and got a little bit better, 

and then we started using social media, branching 

out, talking to bands from nearby states, 

trading shows with them, getting out there and 

playing more and more along the East Coast. 

That extended as far as we could take it. 

It was kind of a difficult thing balancing that 

with school. It was weird because all of our 

friends were going to do the college visits, and 

we were meeting with record labels and playing 

showcases. It’s a different way to grow up, but 

it was definitely fun. At a certain point, we realized 

that we actually may have a shot at making 

[music] a career, and when we realized that, 

we thought, “Okay it’s now or never. We have 

to take that leap of faith; otherwise it’s gonna 

go away.” We decided to take that leap and so 

far—knock on wood—it’s worked out for us. 

MC: The band has been together for 10 years. 

Most bands switch out members or, unfortunately, 

break up before they make it big. What 

is the key to your success? 

Gaskarth: I don’t know what the secret is. I 

can’t speak about what we did differently from 

other bands. A big thing for us is that we’re 

family. We treat this thing like family. The four 

of us are brothers. You don’t turn your back on 

family. We have times where we struggle, but 

we work through it and work it out. There isn’t 

any rivalry or bitterness, which might drive most 

bands apart. Quitting has never been an option. 

We just think, “What’s the next goal? How are 

we gonna get there? Let’s keep our heads 

down and do this.” That’s what kept us really 

close, and we have each other’s backs. Like I 

said, it’s a very family mentality. 

Contact manager Keith Lazorchak, 

keith@pmmla.com 

MC: How did All Time Low originally get in 

touch with those companies? 

Gaskarth: I don’t specifically know. [laughs] You 

just fall into these situations where you meet 

people from the company. Originally, I think, 

Zack was playing Fender basses before we 

had a sponsorship. As our band got a little bit 

bigger, our current Fender rep, Billy, noticed and 

reached out and said, “Hey man, thanks for playing 

our guitars. If you ever wanna work together, 

we can work something out.” It grew from there. 

Similar situation with SJC. Rian met the guy 

who started the company and they started talking 

and it snowballed. 

MC: All Time Low started in early 2000s when 

you were in high school. Describe what it was 

like to start your careers at a young age. 

Gaskarth: It was super weird for us, because it 

literally started as just a garage band. We were 

 

 

 

 

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GUITAR 

& BASS 

JAM 

2015 

BY 

ERIC A. 

HARABADIAN 

As is our tradition every spring, Music Connection 

likes to shed light on some of the prominent guitarists and bassists leading 

the charge within their various musical fields of endeavor. From legends to 

contemporary players, this is one of our best roundtables yet, with Robin 

Trower (Procol Harum, Bryan Ferry, Jack Bruce), Rhonda Smith (Jeff Beck, 

Prince, Chaka Khan), Dewa Budjana (Gigi) and Ana Popovic sharing their 

elite perspectives on technique, gear and live performance. 


ANA POPOVIC 

Contact: Mark van Muers - ArtisteXclusive 

Mgmt., info@artistexclusive.com 

From her early days as a budding teenaged 

musician in Serbia to her current status 

as a world class leader among modern 

blues/rock guitar stylists, Ana Popovic is 

a unique success story. Her latest album, 

Can You Stand the Heat, blends sultry 

Memphis soul with jazz, rock and blues for 

a sonic stew that is sure to satisfy. 

What strides have you made to become 

better at your craft? 

Whenever I have time off I’m taking some kind 

of guitar or vocal lessons. And I’m obviously 

writing too. A lot of people who come out to 

see us say they can’t believe how much better 

everything sounds. But when fans buy tickets I 

want them to know when they come back next 

time to see our show it’s gonna be even better. 

What’s the first thing you notice when 

you listen to yourself from the recent or 

distant past? 

Well, first of all I don’t listen to any of my previous 

recordings or watch the videos. I do have 

some favorite songs that turned out the way 

I wanted them and I’ll listen to them if I need 

to. But I’ve never really sat back and enjoyed 

listening to my own recordings. When I listen 

to something I did when I was 18 and living in 

Serbia, just starting out, I think about what a 

long journey it has been for me. I first played in 

Holland with Dutch blues bands, which is totally 

different from American blues. And then finally I 

came over to America and played on the festival 

circuit. I think moving to the States really helped 

me to be more self-assured as a player. Also, 

the longer I lived here I started learning English 

better and was able to write lyrics and develop 

my songs in a more personal way. 

What kinds of guitars and effects have 

you been using? 

I’m mostly a Strat player. I do have a Telecaster 

as well. I have a ‘64 Strat that I’ve used on 

recordings. As far as amps, I use Mesa Mark 

IV and Fender as well as an old Bassman. So 

it’s a combination of things. As far as pedals, 

I use two Tube Screamers. I like a lot of pedals 

that people don’t make anymore, like the 

Vox British Flag wah-wah pedal. I know why 

they don’t make them––because they would 

break often. But I think they sound incredible. 

All they have to do is break once. But when 

you fix it, they’ll work forever. I also use an 

old Boss chorus—the one with two knobs 

that they don’t make anymore. It’s got a great 

sound as well as the Line 6 delay units. 

Who are some of the artists who have 

significantly influenced you? 

Elmore James, Bukka White, B.B., Albert and 

Freddie King. I like a lot of modern players, 

like Robben Ford, John Scofield and Kevin 

Eubanks. Also, American rock like ZZ Top and 

Joe Walsh, and some other kinds of rock, 

like Thin Lizzy. And I can’t forget Stevie Ray 

Vaughan and Ronnie Earl as well. 

What would you say is your most 

underappreciated quality? 

I would say it is my vocals. I think my vocals 

sound different from a lot of people out there. 

I grew up listening to Koko Taylor, Etta James 

and Mavis Staples and I think I have a more 

manly sounding female voice. I think I have a 

tougher approach that fits with jazz and blues, 

but not so polished. 

Can you recall an onstage mishap that 

stands out? 

I remember we were recording a live DVD and 

we found out the cameras were not on. We 

had to do it all over again. I freaked out at first 

and said I can’t do this. But, once we did it, 

we got an even better response. The audience 

was even more excited the second time 

through. I think people like to see you sweat, 

especially American audiences. 

Conversely, can you describe a highlight? 

I would, in recent years, have to say the 

Experience Hendrix tour. I was the only female 

artist on that bill, along with Zak Wylde, Eric 

Johnson, Buddy Guy, Kenny Wayne Shepherd 

and many, many more. And they’ve had only a 

few female players over the last 12 years, so it 

was an honor to share the stage with all those 

great guitar players. 

What is your secret to blending in, yet 

standing out, with various people as a 

player? 

When you first start to jam, you don’t have a 

whole lot of time, so bring everything you know 

and put it into two rounds of a solo. When I 

started, I learned a few things from my dad. He 

said to have a great intro lick and a great outro 

lick. And in between doesn’t really matter. Also, 

don’t copy anybody––always try to come up 

with your own stuff. 

ROBIN TROWER 

Contact: Alan Robinson, 

arm@manhatonrecords.com 

From classic tunes like Procol Harum’s 

“Whiskey Train” to the solo sensation 

“Bridge of Sighs,” Robin Trower is a living 

legend who has defined modern rock guitar 

for several generations of fans and players 

alike. Trower continues that 

thread of musical innovation 

on his latest album, 

Something’s About to 

Change, on V12 Records. 

What have you done in 

recent years to become a 

better musician? 

I try to pick the guitar up 

every day. And I’ve found it 

has brought great rewards in 

terms of writing more songs 

and exhausting my ability to 

play leads. It’s paid off, I think. 

What are your impressions 

when you listen to things 

you’ve done from five, 10 or 

20 years ago? 

I actually try not to listen to 

things I’ve done in the past, 

because I could be doing 

better sorts of things now. 

There are some good things 

from the past and then some 

things I’m not very happy 

with. That’s the kind of occurrence 

that forces you to 

improve and move forward. 

I’m still as fired up about 

playing guitar as I ever was 

and looking forward to the 

next tour or in the studio. 

What guitar, effects and 

strings are you using right now? 

My signature Strat that I co-designed with 

Todd Krause at Fender. I use all Full Tone 

pedals and have been since the early ‘90s. On 

my new album Something’s About to Change 

the main basis of the sound that I get is from 

my signature model overdrive that Full Tone 

makes. And I still use Marshall amps as well. 


With strings, the two top ones are the only 

ones I would consider heavy. But I use really 

high action to get them ringing properly. The 

acoustic sound of the guitar is really important 

to me—to get a good, clear ringing sound from 

each string. I use Ernie Ball strings and tune 

down a whole step to D so I can really get 

some good vibrato. 

What has been your worst onstage mishap? 

I did some shows with Jack Bruce in Europe 

a few years ago and I 

was using a small amp. It 

caught fire during the set! 

I was just pushing it too 

hard. But I usually hook 

up two backup amps, at 

least, so there’s always 

one going if one goes 

down. 

Conversely, can you 

recall a highlight that 

stands out playing live? 

I’ve often been asked 

that question, as you can 

imagine, and I have to go 

back to the first time we 

played “Bridge of Sighs” 

live at Winterland in San 

Francisco around ’73 or 

’74. I hadn’t finished writing 

the lyrics so Jimmy 

(Dewar) had to sing the 

same verse twice. It was 

the first time anyone had 

ever heard the song and 

the reaction to it was astonishing. 

We knew then 

that we had something 

really powerful. 

Are there any specific 

requests that you ask 

of your roadies or techs 

regarding gear set-up? 

The main thing is the 

string nut on the Strat, 

because it’s very hard to keep them in tune. 

But I’ve developed a way of doing it that 

works for me, although it’s not perfect. On my 

signature model Strats I do have the locking 

tuners. And I teach my roadies to string my 

guitars one string at a time and pull it until 

it stops stretching. It’s pretty important that 

that’s done correctly because I change my 

strings before every show. 

Does your practice regimen vary from when 

you’re on tour to working in the studio? 

I don’t really practice so much as play for my 

own amusement. When I’m working on a new 

song I’m also working on how the lead works 

in it. I usually put those two things together in 

tandem, as it were. And one of the main requisites 

of a new song is if it’s something I want 

to play lead on. If it’s not working I usually don’t 

pursue it and just drop it. It has to have some 

sort of potency, either atmospherically or in its 

rhythmic charge. 

In the past you’ve always worked with other 

singers, like James Dewar, Davey Pattison 

and Jack Bruce. But now you’re singing as 

well. What was beind the decision to make 

that leap? 

A lot of the songs were becoming much more 

personal to me. It started to get more and more 

important to me how the vocals sit in the track. 

So I thought I should sing them. 

You still sound very distinctive no matter 

who you’re playing with. What is the secret 

to blending in but also standing out? 

I’m not sure I know the secret to that. There 

is a certain amount of creativity that is a gift 

you’re born with. And a huge part of what I 

do is coming from a number of influences 

that start with my love for black music—blues 

and soul. There’s Howlin’ Wolf, James Brown, 

Son House, Hendrix—what they created is 

definitely inside me. There’s no doubt about it. 

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

RHONDA SMITH 

Contact: Melissa Dragich-Cordero – Mad Ink 

PR, melissadragich@gmail.com 

Canadian bassist Rhonda Smith’s resume 

reads like a Who’s Who of popular music. 

She’s provided support for luminaries such 

as Prince, Chaka Khan, Patrice Rushen, 

Beyonce, and many more. Her latest gig for 

the last few years has been with the incomparable 

Jeff Beck. With two solo CDs under 

her belt and a busy touring schedule, Smith 

is certainly a player on the rise. 

How have you become a better musician? 

Practice like crazy, my dear, and respect the 

music. I try to give it 120 percent when I learn 

someone else’s music. It’s the same as I would 

want from someone I would hire for my project. 

What are your impressions when you hear 

things you’ve done from years past? 

Sometimes I like it. Sometimes I might think that 

I would play something differently. I’m proud of 

everything I’ve done and the opportunities I’ve 

had. But as musicians we’re never really satisfied 

or else we’re never gonna go any further. 

Discuss some of the gear you’re currently 

using and why? 

I was introduced to the Gary Grainger model 

PRS bass about 2-3 years ago at their shop 

in Burbank. I needed a loaner bass, and Gary 

was nice enough to let me borrow his and see 

how I liked it. It had different kinds of tones that 

my other basses didn’t have, and I was very 

much attracted to it. I am also a fan of 24-fret 

necks and being able to stay in tune for traveling, 

and this bass was great for that. So I’ve 

been endorsing them. 

Right now I’m a little in flux about what 

kind of amp I’m going with. But I use a ton of 

effects, which started when I was working with 

Prince. I use MXR phasers and the Mutron. I 

use Dunlop delays. With Jeff Beck I use three 

different instruments with three different output 

levels; an acoustic, a fretless and an electric. 

I also use a Danelectro Fab Tone distortion 

pedal, a Seymour Duncan Déjà vu tap delay 

as well as some other MXR and T.C. Electronics 

gear. It’s a big board! 

One thing I’ve noticed is that you are as fluent 

on the acoustic upright bass as you are 

the electric bass guitar. 

Thank you. I’ve always loved acoustic. I was 

able to be around a lot of jazz and fusion music 

when I was first starting to play in my teens 

in Montreal, Canada. And I’ve been very lucky 

that I’ve always been able to bring it along with 

the major artists I’ve worked with for extended 

periods of time. I think I was the only bassist 

that played acoustic with Prince when I worked 

with him in the New Power Generation. 

Who are you influenced by, and who are 

you listening to now that you really like? 

I’m really in a jazz phase because I’m trying 

to go back to bebop and learn a lot. The Miles 

Davis Legacy collection Kind of Blue was on 

my rotation for a long time. I’ve been listening 

to a lot of pianist Bill Evans and just think 

his bass player was incredible. He liked to 

give the bass player a lot of space. When I 


was younger I started as a rock player. I love 

Stanley Clarke, Jaco Pastorius, Geddy Lee 

and Chris Squire too. 

What’s your worst onstage mishap? 

I was doing this Jaco Pastorius tune in Montreal 

and my fingers cramped up. My hand just 

locked up and wouldn’t move! 

Conversely, can you recall a stage highlight 

or two? 

I’ve had some absolutely memorable and 

one-of-a-kind experiences with Prince and Jeff 

Beck, of course. I got to play for Obama with 

Jeff. I’ve been all around the world with these 

artists. I’ve been very blessed. 

What is the most significant innovation 

you’ve seen in bass technology in the past 

decade? 

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

Like this PRS bass has an incredible preamp 

in it. They didn’t have those years ago. Some of 

the amps, like Aguilar, are incredible, with their 

abilities to be so lightweight but still get this 

great sound. That wasn’t there 10 or 20 years 

ago as much. Power, size and weight have 

been a major improvement. 

What kind of advice do you share with 

aspiring players? 

You gotta do it because you love it and it really 

will love you back. I don’t think people who 

are successful in this business and continue 

to work got into it to make a lot of money or 

thought they were gonna play with this person 

or that. They picked up the instrument because 

it brought them a completion or some kind of 

love they were missing. I don’t play every day, 

but if I don’t play bass for a certain amount of 

time, I feel imbalanced because I feel it is an extension 

of me. So, if you’re really genuine about 

it you’re gonna find your way as a musician. 

Do you have any special requirements for 

gear maintenance you ask of your roadie or 

guitar tech? 

Not really. I just plug in and play and want it 

to work. Depending on the size of the show, 

I’ve shared techs with other players. It can 

get very complicated at times. We’ve done 

very large shows where we don’t even get a 

sound check. When we played Crossroads 

festival with Jeff Beck we went out in front of 

thousands of people and you just hope your 

stuff works. 

I have a lot of buttons to push and instruments 

to keep in tune, so I really hope my 

techs do their job. Nobody’s handing me my 

instruments so I have to make all the onstage 

changes myself. 

What is your secret to blending in, yet 

remaining distinctive and standing out? 

Like I said before, you’ve gotta love and 

respect the music. We all wanna get that callback. 

We can play with a lot of people, but it’s 

important to develop long-standing relationships 

with people too. When you tour, you’re 

almost like family with people in a band. You 

have to get along with people. No one wants to 

be babysat. 

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

There’s a lot of politics involved as well, so 

that’s all-important to having longevity in this 

business. And I make sure to never take any of 

this for granted. 

DEWA BUDJANA 

Contact: Leonardo Pavkovic - Moonjune 

Records, noanoamusic@moonjune.com 

In his native Indonesia, Dewa Budjana is a 

bonified rock star. As guitarist in the popular 

band Gigi, he has maintained healthy 

album sales and hit status throughout 

many Asian territories since the early ‘90s. 

His latest solo ventures, however, reveal an 

equally accomplished jazz-fusion acumen 

that has come to fruition in the last few 

years. His latest release of instrumental 

music is called Hasta Karma on the Moonjune 

Records label. 

What’s the first thing that you notice when 

you listen to yourself from recordings of 

five or 10 years ago? 

Sometimes I’m ashamed when I hear my old 

recordings. Sometimes they’re funny. A lot of 

times I’m thinking how I can blend the melody 

and harmony in a better way. It just depends 

on what I’m listening to. 

What guitars and effects are you using? 

I have a PRS Custom 24 guitar. I also use a 

Duesenberg hollow body guitar. But at home 

I still use my Parker Fly Deluxe for studio 

overdubs. And for acoustic I have a Taylor. For 

gear I’m still using Mesa Boogie and Bad Cat 

amplifiers. For a preamp I use a Bob Bradshaw 

Custom Electronics CAE 3+ model. 

Who are some musicians that have influenced 

you? 

John McLaughlin was the one who got me 

into playing different kinds of music, like jazz. 

Before that I was just playing pop music. 

Weather Report is another group that influenced 

me as well. 

TURI PENDULUM 

What is your most 

underappreciated 

quality? 

Maybe composing? 

A lot of musicians 

I’ve played with, 

such as Jimmy 

Johnson, Gary Husband, 

Antonio Sanchez 

and Joe Locke, 

have said that a lot 

of my music is very 

simple and melodic, 

yet complex inside. 

What has been a 

highlight for you 

as a live performer? 

There have been 

many highlights 

with my band Gigi. 

But a big one for 

me was when we 

recorded at Abbey 

Road Studios. But 

as a solo performer, 

playing a large 

concert featuring 

my jazz-fusion 

music in Jakarta 

in 2007 was very 

special. 

How are you 

able to adapt to 

musical situations 

working with so many different people, as 

you do? 

When I play with Gigi for 5,000 or 10,000 

people and then play with my jazz group in a 

small club––those can be very different kind of 

experiences. 

For me it is all about finding a balance 

between the two. But still it is all about trying to 

play my best––playing at a minimum level and 

not overplaying or overdoing it. 


– PAUL “CHICO” FERNANDEZ 

Special Events: 

How to Land – and Keep – Those Great Gigs 

This year I performed at the 2015 Oscars. 

I played timbales with Gary Valentine 

and his band Malibu Mariachi. He and 

his group performed at last year’s Oscars as 

well. We played for the guests and stars as 

they arrived and/or left the event. Ordinarily a 

timbalero is not a part of a mariachi band. The 

clients wanted a “spicier” kind of Latin Music 

this year, so we played some Mambos, Cha 

Chas, Meringues and other “Salsa Music.” 

What was it, you might ask, that led 

us to playing this gala event and many 

other fine gigs, such as a party at Arnold 

Schwarzenegger’s house; a party at auto 

sales mogul Fletcher Henderson’s mansion; 

special effects director Richard Taylor’s 

birthday at the Pacific Dining Car in Santa 

Monica, and many others in Malibu, Pacific 

Palisades, Beverly Hills and more? A long, 

lasting relationship. 

Gary and I first met in the late ‘70s in Santa 

Monica. He was a fine guitarist, vocalist and 

harmonica player in those days. I hired him 

on as a music teacher and we also started 

playing gigs together, everything from private 

parties, weddings, nightclubs and bars to 

corporate functions. He is an especially fine 

Spanish and classical guitarist who speaks 

fluent Spanish, after having lived and worked 

in Spain for a number of years. He is also a 

consummate businessman and promoter. 

Over the past few years we have collaborated 

on many musical projects, including bookings, 

recordings, teaching music and having a lot of 

fun while doing so. 

Today Gary Valentine is one of the 40 

instructors who teach at the Santa Monica and 

Culver City Music Centers. He gives private 

lessons and classes on ukulele, guitar and 

harmonica. 

He has had a professional relationship with 

one of the people who run the annual Oscars 

event and through the skills developed over 

many years of being a businessman as well 

as an accomplished musician he was able to 

make and develop that connection. This, by 

the way, is what I and my associates teach in 

my Music Career Workshop classes at Santa 

Monica Music Center. 

I perform at the Beverly Hills Summer 

concert series with the Westside Jazz 

Ensemble in the summer and at the Culver 

Seniors Center Tea Dance a few times a 

year. The WJE is a 17-piece big band plus a 

vocalist. The band is under the direction of 

saxophonist David Jacques from New Orleans 

and consists of men and women of all ages. 

The organization has been in existence for 

about 40 years and is a good band and a fun 

social event all rolled into one. 

How does all this relate to performing at the 

Oscars? Here are some timely tips: 

1) Utilize ALL of your friends and 

acquaintances to further your career and, 

specifically, get gigs. 

“When you are 

on the set in a movie 

or TV show, or at an 

Oscars event, DON’T 

be a total amateur and 

ask for autographs, 

or take pictures of the 

celebrities, or talk to 

people you are not 

authorized to 

speak to.” 

2) Be kind to those you meet on the way up— 

they may get a gig for you later, and help you 

when and if you are on the way down. 

3) If you play more than one instrument (I 

play drum set and timbales) let contractors, 

bandleaders and others know about it. 

4) When you are on the set in a movie or TV 

show, or at the Oscars, DON’T be a total 

amateur and ask for autographs, or take 

pictures of the celebrities, or talk to people you 

are not authorized to speak to. As an example: 

at Arnold Schwarzenegger’s party his “people” 

had us band members sign a three-page legal 

document instructing us NOT to take pictures, 

etc. However, Arnold was kind enough to pose 

for pictures with us when Gary the Bandleader 

had an opportunity to do so. 

5) Turn off and stay off your cell while you 

are working. There is nothing more annoying 

than a member of cast and crew or band 

members talking or texting while working. It 

also may interfere with sound recording and 

the complex array of electronics and signals 

that are present on or near a set. (By the 

way if you are a member of the musicians’ 

union, you are considered a part of “Cast 

and Crew” NOT Atmosphere or Extras). This 

has its advantages vis-a-vis better food and 

treatment. 

6) Do not drink or eat until the Band Leader or 

Music Contractor tells you it is okay. When you 

do, don’t be a pig. Practice good manners and 

etiquette. 

7) Do not EVER get drunk, high or tipsy on the 

gig. The old saying, “You’ll never work in this 

town again,” applies. 

8) After the Oscar performance, take pictures, 

selfies and text or call your friends and 

relatives if you want to. 

9) The next day or so, send emails, press 

releases, texts or whatever to industry people 

to let them know what you have done and 

what you are doing in the future. 

10) Last but not least: IF YOU CAN’T SAY 

SOMETHING NICE ABOUT SOMEONE, 

DON’T SAY ANYTHING AT ALL! 

PAUL “CHICO” FERNANDEZ is a professional drummer 

in the Los Angeles area. Fernandez has not only taught 

drums but has worked as a talent manager, producer, 

booking agent, photographer and graphic artist. Joined 

by his brother, he opened the Santa Monica Music Center 

where he gives lessons and holds career development 

workshops that feature industry pros who deliver the 

information and contacts needed for a successful career 

in show business. For complete information about workshops, 

see santamonicamusic.com/t-history.aspx. 



Crowdsourcing has raised many 

questions about the future of record 

labels, since the movement enables 

bands to go directly to fans to fund new 

projects. With these questions up in the air, 

it was only a matter of time before a website 

harnessed the best parts of the crowdsource 

movement and paired them with the best 

parts of a record label. 

Enter Your Music Company, a statelicensed 

music platform that has changed 

the crowdsourcing model. Offering their 

investors—or rather, “fanvestors”—more than 

just a prize for donating, YMC is unique in 

that the company gives fans the opportunity 

to actually profit from the artists they’ve 

chosen to support. 

Inspired by a French crowdsourcing site, 

YMC founders Yael Benamour and Christel 

Gidouin decided that they could not only find 

a better way to execute the idea, but they 

could take it to the U.S. where nothing like it 

Your Music Company 

A Crowdsourcing/Record Label Hybrid Draws “Fanvestors” 

yet existed. By March of 2011, YMC was up 

and ready for business. 

“Pop singer Georgia Jane is the first artist 

to be signed,” says Benamour, “the first to 

be fully funded and release a track.” After 

reaching her goal, the singer/songwriter was 

able to pay her fanvestors a reported total of 

$100,000. 

However, not just any artist can raise 

money through YMC. In fact, an artist must 

first be approved through the site, where 

they will then go through a voting process 

in which fanvestors vote them on to the next 

round. By gaining at least 25,000 votes, 

artists and bands enter the funding phase, 

in which they have three months to reach 

their set goal. If that goal is not met, much 

like Kickstarter, all proceeds are returned. 

But, if the goal is met the artist enters the 

next phase in which all the funds raised go 

toward professional guidance, recording an 

album and filming a music video. Benamour 

– VICTORIA PATNEAUDE 

elaborates: “The purchase of royalty interest 

doesn’t allow a fanvestor to own any kind of 

rights or percentage on a song, meaning if 

the song is picked up for film and television, 

they do not receive any part of the payout. 

Instead, their earning is received from 

track and album sales, with respect to 

distribution,” About three months after the 

first track is released, fanvestors split 25% 

of the net revenue based on the number of 

units they’ve invested in. 

What’s most important within YMC, say 

its founders, is transparency. “Transparency 

is key for trust and success,” Benamour 

says. “YMC grants the right to fanvestors to 

request an audit of our accounting records in 

connection with the relevant album. They are 

able to see the calculation of net revenues 

and the calculation of the proceeds in respect 

of their royalty interest.” 

For complete information, visit 

yourmusiccompany.com. 

After reaching her goal on 

YMC, singer/songwriter 

Georgia Jane was able to 

pay her fanvestors a reported 

total of $100,000. 


Vanilla Fudge 

Spirit of ‘67 

Cleopatra Records 

Producers: Carmine Appice & Mark Stein 

The year 1967 was pivotal for psychedelic 

rock. Playing tribute to that historical 

moment, Vanilla Fudge navigates genres, 

on time-tested hits bound together by the 

arrangements and the band’s iconic sound. 

“I Heard It Through the Grapevine” draws 

you in with its signature bass line, standout 

organ and lead guitar. Other nuggets include “I Can See For Miles,” “I’m 

A Believer” and “Ruby Tuesday.” Though some reinventions are stronger 

than others, this ever-entertaining band never fails to put a unique stamp 

on any song. – Ellen Woloshin 

Swami John Reis 

and the Blind Shake 

Modern Surf Classics 

Swami Records 

Producer: Swami John Reis 

Guitarmeister John Reis (Rocket From 

The Crypt and Drive Like Jehu) reinvents 

himself with an amazing set of surf-rockers. 

Ably assisted by Minnesota band, the Blind 

Shake, these tunes are superbly crafted allinstrumental 

rock & roll. The trick with surf music is to avoid cliches while 

still referencing styles of the past, and this is exactly the case here. Some 

great titles too, like “Zulu As Kono,” “Poseidon’s Tears” and “Sets of Fire” 

almost veers into Sonic Youth territory. If the Pixies’ version of “Cecilia 

Ann” was the acorn, then this release is the oak! – David Arnson 

AWOLNATION 

RUN 

Red Bull Records 

Producer: Aaron Bruno 

The quintessential hipster, alt-pop electronic 

rockers have unleashed another bundle of 

luscious, uncommon compositions marked 

by preternaturally memorable lyrics. A pair 

of extraneous answering machine messages 

gums up the flow (why do artists think 

these everyday artifacts are worth sharing?), 

although it’s easy enough to overlook this transgression. Followers 

of Imagine Dragons will immediately cotton to the group’s danceable yet 

otherworldly assortment of fuzz, electronic bloops and inexorable hooks. 

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

Big Sean 

Dark Sky Paradise 

GOOD Music/Def Jam Recordings 

Producers: Various 

Three times is the charm for this Detroit 

emcee, who with witty wordplay and a fresh 

delivery has finally scored a solid release. 

Sean displays a musical range with club 

bangers like “I.D.F.W.U.,” the autobio “Win 

Some, Lose Some,” and the encouraging 

“One Man Can Change the World.” Though 

he seems unfazed by the heavyweights featured here (E-40, Lil’ Wayne, 

Kanye West), the album presents perhaps too many mood shifts. Through 

it all, though, Sean proves to be viable and sustainable—the reason 

Kanye West signed him to GOOD Music. – Adam Seyum 

7 

9 

9 

7 

Morgoth 

Ungod 

Century Media Records 

Producers: Morgoth, Jörn Michutta 

and Matthias Klinkmann 

Following At the Gates’ 2014 first studio 

LP in 19 years, fellow European deathmetallers 

Morgoth follow suit with a new 

record that’s the same number of years 

in the waiting. Ungod likely won’t crack as 

many album-of-the-year lists as At War With 

Reality did, but that’s no knock on these German diehards. Proving they 

haven’t grown soft with age, the band lays down a brutal assault from 

start to finish, even on the titular instrumental track, which could’ve easily 

functioned as a six-minute smoke break. – Kurt Orzeck 

Fritz Kalkbrenner 

Ways Over Water 

Suol/BMG 

Producer: Fritz Kalkbrenner 

Kalkbrenner’s new album is a tastefully 

created popish electronica soundscape. 

Even though the artist has hit critical mass 

in Europe, there are plenty of people in 

North America who don’t know about him 

yet. However, I believe his latest album, 

Ways Over Water, will stretch his sound out even more. With this, his 

third studio album, Kalkbrenner has done a great job of bridging a gap 

between pop-styled songwriting and electronica, a feat that even the 

more rigid electronic music fans will appreciate. If you’re a fan of electronic 

music, this is worth the purchase. – Scott Binder 

The Sweetwater Hillbillies 

On The Road 

Merrimack Records 

Producer: Joe Melnikas and Donnie Gullet 

This funky, playful and rambunctious all-star 

group of songwriters and first-call sidemen 

(guitarist Travis Wammack, fiddler Donny 

Carpenter, pianist S.E. Willis and singer/ 

multi-instrumentalist Shane Rollopay) pay 

sweet homage to a wide swath of indigenous 

music—from swampy Depression 

era folk and bluegrass to Western Swing, Memphis R&B and Southern 

Rock. Cooking up a special multi-generational brew with infectious wit and 

whimsy, they roar about everything from “Backwater Slap Jar Soul Sauce” 

to rattlesnakes, motorcycles and Mountain Dew. – Jonathan Widran 

Smallpools 

Lovetap! 

RCA Records 

Producers: Various 

Indie pop band Smallpools debut with flying 

colors, delivering infectious, upbeat tunes 

that instill the desire to dance—perhaps 

with a bonfire on the beach or cruising the 

highway with windows down. Nearly every 

song is a catchy pop gem that paints a 

vibrant mural of jubilation. The only downside 

is that the songs start blending together midway through the album, 

sounding similar to one another. The band has nevertheless found a 

sound where they can shine. Standout tracks include hit single “Dreaming” 

and “Street Fight” with its cheesy yet endearing lyrics. – Siri Svay 

7 

8 

8 

9 

To be considered for review in the Album Reviews section, you must have a record deal with a major label 

or an independent label with an established distributor. If you do not, please see our New Music Critiques section. 


Of Eyes That See 

Contact: info@ofeyesthatsee.com 

Web: ofeyesthatsee.com 

Seeking: Label, Booking, Film/TV, Radio 

Style: Alt & Punk/Rock/Electronic/Dance 

Messiah 

Contact: tnoble0911@gmail.com 

Web: sinnersredemption.com 

Seeking: Label 

Style: Hip-Hop 

Production 

8 

Lyrics 

7 

Music 

8 

Vocals 

9 

Musicianship 8 

Female-fronted trio is led by the rangey, 

full-throated Tiffany, whose confident power 

imbues the hooky “Dangerous Love” with 

echoes of Paramore, whom the band most 

closely resembles. The song’s arrangement 

is quite crafty, with powerful drum tones and 

strings that, despite a bass-heavy mix, add 

an elegant emphasis at the right moments. 

On “Endlessly” she transitions from chest 

voice to head tones seamlessly. On the ballad 

“Bittersweet...,” the band’s most commercial 

tune, her yearning tones morph adroitly into 

a full-throttle Katy Perry-like gallop. More 

pop, less rock, the song proves to be the 

type of track that is ideal for Tiffany’s vocal 

skills. Overall, this is a tight band with a 

singer who makes you believe in her words. 

Production 

8 

Lyrics 

8 

Music 

8 

Vocals 

8 


Artist Messiah (how’s that for humility?) has 

a smooth, gliding flow that could sweep any 

lady off her feet. In “Goddess” that is exactly 

what he does, all but promising to deliver a 

second coming to his Perfect 10, taking her 

“in a chariot to the Marriott.” (Yes, his clever 

wordplay is entertaining.) “Whip” is a harderedged 

track––percussive, urgent, deploying 

another rapidfire flow matched to a synthesizer 

beat and volleys of rat-a-tat percussion. 

Most importantly, the song’s hook recurs effectively 

and has strong momentum. Best of 

all is “Top of the Mountain”––a relaxed and 

sensual boaster, it has his most memorable 

beat over which the rapper states his romantic 

intentions. It shouldn’t take a miracle for 

this Messiah to get signed. 

Rodpo 

Contact: rodpo36066@gmail.com 

Web: rodpo.com 

Seeking: Label, Distribution, Booking 

Style: R&B/Hip-Hop 

Alarm Clock Conspiracy 

Contact: booking@alarmclockconspiracy.com 

Web: alarmclockconspiracy.com 

Seeking: Label, Booking, Film/TV, Distr. 

Style: Indie Rock/Power Pop/Alt-Country 

Production 

8 

Lyrics 

8 

Music 

8 

Vocals 

8 


Alabama-based rapper/singer Jerod Powe 

and his producer have put together some 

intriguing songs that, despite weaknesses, 

are well worth attention. “Moderation” is 

easy to embrace, such a cool, seductive 

track that keeps it simple and gets the job 

done––wooing the women. Rodpo gets 

more ambitious, however, with “Life,” which 

hits it perfectly in its first 2/3––but then we 

get a sudden mood swing that spins our hats 

around. Same thing with “Tempo,” a dreamy 

love-pledge that has us fully seduced––until 

its abrupt shift to what sounds like a different 

song. Nevertheless, Rodpo’s clarity and flow 

as a rapper is impressive and we urge him to 

seek pro coaching to help bring his singing 

voice up to the same high level. 

Production 

8 

Lyrics 

8 

Music 

8 

Vocals 

8 


Fronted by two singer/songwriters, this 

well-recorded quartet specializes in tight, 

guitar-driven, nice-guy rock. Chris Carter’s 

mellow voice soothes “Got My Mind Made 

Up,” a catchy, amiable outing with smooth 

vocal backups and organ (by Randal Bramlett) 

that adds a welcoming glow (though 

his solo could be louder). A similar formula 

powers “Harlequin,” by Ian Reardon, a laidback 

singer with a more resonant tone than 

Carter’s. His tune has a nice, bluesy guitar 

solo, but the grave and lengthy finale seems 

unnecessary. Carter’s “To My Lost Friend” is 

another song in which the instrumentalists 

shine––in this case it’s the piano, which adds 

a bright accent to the song’s wistful nostalgia. 

All in all, ACC is a good, solid band. 

Lucid Fly 

Contact: contact@lucidfly.com 

Web: lucidfly.com 

Seeking: Booking, Film/TV, Mgmt., PR 

Style: Alternative/Progressive Rock 

The Penny Serfs 

Contact: rachel@bigpicturemedia.com 

Web: soundcloud.com/thepennyserfs 

Seeking: Label 

Style: Indie Rock 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

8 


Dark, propulsive modern-rock with chiming, 

metallic guitars, pleading vocals and 

kick-ass drums, Lucid Fly conjure a world 

of epic struggles in bold hues of black and 

blue. Songs (“Waiting,” “What Winter Was 

Like,” “In This Ocean”) are expansive and 

cinematic––ripe for film/TV or video game 

soundtracks. This material is more familiar 

than fresh, however, and if the band wants 

to advance from the Evanescence-meets-A 

Perfect-Circle comparisons, it will have to 

inject a fresh twist into the formula. Further, 

the consensus among our group is that 

singer Nikki Layne, though tonally right for 

this band, still has ample room to step up 

and lead these formidable musicians with 

even more fire and conviction. 

Production 

8 

Lyrics 

7 

Music 

8 

Vocals 

8 


Crafty and versatile, these Iowa alt-rockers 

bust out some vintage Kinks-injected garagerock 

with “Manic Depressive,” taking the 

fuzztone-fueled song into modern alt-rock 

territory with the addition of shimmery 

guitars and singer Michael Loy’s fx’d vocals. 

They lighten up with “Dead Love,” a toetapper 

with an easygoing cadence and inyour-face 

lyrics that describe a relationship 

gone awry. Loy once again filters his voice 

for “The Legend of Jim Falcon”––though its 

underlying structure sounds as clockwork as 

a synth-rock song, it is presented straightforward 

and organic: guitars-drum-bass. 

Some of us think this one is the catchiest of 

the lot, a tune that a station like KROQ radio 

in Los Angeles could get behind. 

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. 


Peppina 

Contact: catie@iseeyoupublicity.com 

Web: peppinamusic.com 

Seeking: Booking, Film/TV, Label 

Style: Singer/Songwriter 

Prisms & Portals 

Contact: prismsandportals@gmail.com 

Web: prismsandportals.bandcamp.com 

Seeking: Film/TV, Label 

Style: Progressive Rock 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

8 


Peppina and her co-writers have fashioned a 

collection that shows the singer to be smart, 

spirited and crafty. “My Only Heart” gets to 

its decent hook quickly, though chorus lyrics 

are not clear due to a mix that allows the 

band to overwhelm the vocals. Meanwhile, 

we could imagine the sunny, ukulele-fueled 

“What You Are Will Show” on a rom-com 

soundtrack, though lyrics once again are 

too often indistinct. Peppina’s most realized 

recording is “We Can Go Back Again,” which 

showcases her as a rangey, appealing vocalist 

delivering a chorus that is easy to sing 

along to. Her diction on this track is effective 

and we advise this promising Finnish singer 

to bring the same precision to all of her 

performances. 

Production 

8 

Lyrics 

x 

Music 

7 

Vocals 

x 


A one-man instrumental project from Shaun 

Riekena, Prisms & Portals could be of particular 

interest to game developers and genre 

film makers. Each theme we heard–– “In 

Waves,” “Intercept Linear 7” and the 11 minute 

“The Fossil Lights”––follows an effective 

formula: a mysterious, hypnotically repetitious 

motif builds to a dramatic conclusion. 

Along the way there are enough interludes 

of intrigue and instrumental flourishes (like 

great fuzz-bomb guitar tones) that could 

make an ambitous visual project come to life. 

Indeed, the simplicity of each composition 

seems to demand a visual element to ground 

it or give it context. Our favorite track is 

“Intercept Linear 7” which makes an impact 

via its oddly chant-like voice component. 

Sugar on the Dashboard 

Contact: sugaronthedashboard@gmail.com 

Web: soundcloud.com/sugaronthedashboard 

Seeking: Label, Booking, Film/TV, Distrib. 

Style: Alternative Rock 

Rebecca Hosking 

Contact: hoskingrebecca@gmail.com 

Web: reverbnation.com/rebeccahosking 

Seeking: Film/TV 

Style: Country/Folk/Singer/Songwriter 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

8 


Altanta-based Brayden Gomer brings good 

punk energy to his songs, decrying life’s 

frustrations and predicaments in a convincing 

voice. “Mr. Role Model” is a perfect 

example of his work: an aggressive, stinging 

alt-rock riff powers a chorus that comes 

through loud and clear, all of it supporting 

a snide, snotty vocal. “Somebody Else” 

has a similar music and lyric attack, albeit 

with a somewhat grungy ‘90s vibe. Gomer 

gets to a full gallop with “Cologne Man & 

Feisty Woman,” which starts with a cool 

stereo effect and launches into a relentless, 

repetitious hook. As good as the production 

is on these songs, we can imagine that SotD 

flourishes better as a live act that can whip a 

club crowd into a frenzy. 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

8 


Clearly, Nashville-based Hosking is an 

experienced performer. Though not a 

powerhouse vocalist, she delivers her sweet, 

straightforward, acoustic material (“Trouble” 

and “The Stranger”) with a confident “nomakeup” 

understatedness and with adept 

backup support that plays to the songs––not 

over them. Her resonance fits the warm, 

welcoming humanity of her words. Our preference 

is for “No Reason,” not just because 

it benefits from a full band arrangement 

(including a drummer) but because it really 

puts the hook across. All in all, Rebecca 

Hosking exudes a heartland appeal backed 

up by sturdy songcraft that has led to several 

TV placements. Some of us feel her music 

would blossom in a kids TV setting. 

ohnomoon 

Contact: catie@iseeyoupublicity.com 

Web: ohnomoon.com 

Seeking: Label, Booking, Film/TV 

Style: Indie/Rock/Shoegaze 

Super Awesome Macho 

Contact: pwildman@sbcglobal.net 

Web: facebook.com/SuperAwesomeMacho 

Seeking: Promotion, Booking, Label 

Style: Surf Punk Garage Rock 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

8 


Buckets of dreamy, reverbed atmosphere 

adorn these tunes by a N.Y. band fronted by 

singer Kat Lee, who invests the material with 

a breathy, sweetly alluring sensuality. It’s a 

cool sound––and, at times, the band’s downstroked 

guitars remind us of the heavenly 

swell of the Breeders’ best work. Film/TV 

music supervisors, especially, might take to 

ohnomoon’s cinematic moodiness. Beyond 

that, the band’s gauzy billow of fx’d sonics 

can’t obscure the songs’ basic need of more 

substance. None would hold up if performed 

on an acoustic guitar, which is the true test. 

Though ohnomoon has conjured a hypnotic 

echo-chamber of possibilities here, it will be 

interesting to see if the band can continue to 

develop as songwriters. 

Production 

7 

Lyrics 

7 

Music 

7 

Vocals 

7 


A volatile cocktail of sludge, surf and psychobilly 

might describe this foursome who, 

though they’re a ragged bunch in-studio, 

may be a balls-to-the-wall live act. Their raw 

recordings (apparently done live-in-studio) 

indulge in red-line distortion that makes 

“Badass” a suitably grungy, garage-rock tune. 

The song’s halting nature, though, keeps it 

from ever gaining real momentum. “The Most 

Kick Ass Song Ever” does not live up to its 

hype, but manages to generate decent surfguitar 

sparks and a springboard for frontman 

Pete Wildman’s reckless, indecipherable 

growl. Better is “Truck Drivin’ Daddy,” which 

reminds us of Rev. Horton Heat for sheer 

psycho-surf abandon. Kudos to guitarist 

Steve Dixon for his frantic fretwork. 

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

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

April 2015 


Cantab Lounge Cambridge, MA 

Contact: contact@bloodknifeband.com 

Web: bloodknifeband.com 

Band: Roberto Garcia, guitar, vocals; Aaron 

Montecalvo, bass, backup vocals; Sam 

Scribner, drums. 

Material: Heavy metal gets a makeover as this 

groove-oriented trio blends elements of ‘80s 

hair bands and modern luminaries, like Lamb of 

God, into one adrenaline-jammed package. For 

example, humor plays a role in a song about 

two of lead singer Roberto Garcia’s favorite 

things, “oral sex and chain restaurants.” Or 

consider the plucky number concerning “being 

frustrated about boning because you’re a ghost 

and all you have is a ghost dong.” 

Musicianship: Sam Scribner’s spirited drums 

in conjunction with Aaron Montecalvo’s plump 

bass lines lay the foundation for Blood Knife’s 

ominous sound, but it’s Garcia’s guitar licks that 

solidify their style. Equally comfortable throwing 

down bright colors as well as muddying the well 

with dark clouds that portend a dark destiny, 

Garcia’s singing similarly runs the gamut, 

mixing a straight-ahead rock approach with 

guttural howls that could summon demons. 

Regrettably, his vocals prove their weakest 

element, occasionally vanishing amid the 

trinity’s instrumental woof. Other times, his 

warbling just isn’t up to snuff. 

Performance: For a baby band, Blood Knife 

sported a considerable stage rapport, gently 

and comically teasing the audience between 

songs, then displaying their metal pedigree 

with Garcia’s hirsute headbanging while in 

Genghis Cohen Los Angeles, CA 

Contact: wendy@hellowendy.com 

Web: turktunes.com 

The Players: Matt Turk, guitar, mandolin, 

vocals; David Henderson, drums; Rick 

Markmann, bass; Dan Pinnella, guitar; Ziggy, 

keyboards. 

Material: Matt Turk’s lyric heavy, slow-paced 

songs have folk foundations, but incorporate 

other genres like gypsy jazz and old-timey 

country. Turk hits his stride in his emotional 

folk tunes, replete with plucking mandolin riffs 

and warm acoustic chords. “Battle Song” and 

“Sorrow Is Loud” possess vintage qualities, 

and he should aspire to write more songs in 

that vein. “What a Boy,” an upbeat reggae 

tune, and “In Her Smile,” a ballad of sorts, 

disrupts the cohesiveness of Turk’s folk sound, 

which begs for the bare minimum. 

BLOOD KNIFE 

full facemelt mode. Otherwise, they don’t 

offer much by way of eye candy, dressing 

plainly and letting the music speak for itself. 

Accidentally knocking over beverages is a good 

sign, though, that they’re slaves to the rhythm. 

Summary: Although they’re to be commended 

for their first-rate shredding and novel blend of 

metal strains, Blood Knife do not yet generate 

a fully coalesced sound. Instead vacillating 

MATT TURK 

between butt-shaking dominance and merely 

loud, irresistibly engaging and simply another 

act to endure. Perhaps taking Garcia off vocal 

duties and employing a charismatic frontman 

would shine new light upon their chemistry. In 

the final analysis, they’re off to a magnificent 

start, serving up a sound that is both fun and 

at least moderately fresh. Once several more 

elements fall into place, the band will become 

truly noteworthy. 

– Andy Kaufmann 

VINCENT STEVENS ANDY KAUFMANN 

Musicianship: Turk is no stranger to the 

mandolin or acoustic guitar. He is a solid 

rhythm player with dynamics, but could 

use with more vocal training because his 

quieter notes and falsetto often veer off pitch. 

Henderson holds down the groove and plays 

with emotion, gelling with Markmann’s firm 

bass lines. Markmann plays in the pocket and 

lets the light shine on Turk, while Pinnella 

does not. While a talented player, Pinnella has 

one volume—loud—which doesn’t fit Turk’s 

sound. He needs to adapt to play and fit the 

genre. Ziggy’s ominous organ riffs add a warm 

darkness to the material. 

Performance: To celebrate the release of his 

new album, Cold Revival, Turk played it in its 

entirety to an intimate crowd. Unfortunately, 

the performance was disjointed because of 

the inclusion of various genres that don’t mesh 

with Turk’s folk roots. His vocals suffered when 

he sang too close to the microphone, which 

muffled his lyrics. While the band added girth, 

the material called for simplification. A solo 

acoustic performance would have done more 

justice to his material. Each time Pinnella 

soloed, he drowned out the band with wahinduced 

vibratos and arena rock antics. 

Turk finally fell into a groove in the final 

songs of the set, which harkened back 

to twangy, emotional, old folk tunes. The 

relaxed acoustic guitar riffs, with wisps of airy 

keyboards, complemented the verbose lyrics 

that illustrated personal stories. Turk closed 

the night with “In Her Smile,” which would have 

been richer if more harmonies were added. 

Summary: Turk aims to please, but doesn’t 

quite hit the mark. Simplifying the material and 

focusing on old-fashioned folk will make his 

sound more cohesive. If this artist sticks to his 

singer/songwriter roots, his performance will 

only benefit. 

– Vincent Stevens 


instrumentation to the stage. Whether it be 

good fortune or good strategy, the songs Hit 

Me 90s chooses to cover—Britney Spears’ 

“… Baby One More Time,” blink-182’s “All the 

Small Things,” Nine Days’ “Absolutely (Story 

of a Girl)”—require minimal musical skill. That 

is hella cool, because it gives guitarist Mookie 

Blaylock, bassist Suge White, drummer Wayne 

Grohl and keyboardist Chazz Starr that much 

more freedom to goof around. 

HIT ME 90s 

Saint Rocke Hermosa Beach, CA 

Contact: mara@marasong.com 

Web: hitme90s.com 

The Players: Britney “Left Eye” Aguilera (Mara 

Hitner), lead vocals; Suge White (Joseph 

DiLeva), bass, vocals; Chazz Starr (Pancho 

Burgos), keyboards, vocals; Wayne Grohl (Jon 

Poli), drums, vocals; Mookie Blaylock (Flint 

Mavis), guitar. 

Material: Flannel, torn jeans, heroin—they’re 

all back in style. And now there’s a band 

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

Cut. It. Out. Giving boy and girl bands, onehit 

wonders and gangsta rappers their due 

props, Hit Me 90s came into being after the 

bandmembers’ former group, an ‘80s covers 

band called Mara & the Big Rockstars, ran its 

course. A decade into performing together, 

they haven’t lost sight of their singular and 

simple goal: having fun. 

Musicianship: The five musicians who form 

the group could easily use prerecorded 

tracks as a crutch, but they actually bring live 

KURT ORZECK 

Performance: Hit Me 90s put on a 

quintessentially interactive show; indeed, 

without the audience dancing and singing 

along to songs like “Tubthumping” 

(Chumbawumba) and “Gangsta’s Paradise” 

(Coolio), their gigs might get rather…err… 

awwwk-ward. Fortunately that wasn’t the case 

at Saint Rocke, where the group played its 

first gig in front of a sizable crowd. The band 

spurred the crowd into action and further 

amused it with a TV theme song medley, a 

modem dialing up, a pager “accidentally” going 

off and other interludes/skits. Sadly, lead singer 

Mara Hitner (dressed as Spears during the 

show) told Music Connection later on that she 

had been suffering from a cold, which would 

explain her limited vocal range that night. 

Summary: Music lovers keen to hear their 

favorite ‘90s songs in an interactive setting 

might be more inclined to hit a karaoke bar 

than see a band take a stab at re-creating 

them. Also, it’s nearly impossible to imagine 

Hit Me 90s releasing an album—after all, what 

would be the point? And it seems equally 

unlikely that any extensive touring would be in 

order, at least in the immediate future. But as a 

novelty group, sure, it works. – Kurt Orzeck 

House of Blues Foundation Room 

West Hollywood, CA 

Contact: jaraslapbak@gmail.com 

Web: slapbak.com 

The Players: Jara Harris, bass, lead vocals; 

TJ Quake, rap, vocals; Alicia Contreras, 

vocals; Adam Smith, guitar; Alyse Harris, 

keyboards; Jesse Conlee, drums. 

Material: Slapbak serves up funky, soulful 

tunes peppered with hints of gritty, distorted 

rock. Songs like “For Those About To 

Bounce,” which is inspired by the classic AC/ 

DC anthem, and “We Come To Jam” are 

driven by tight rhythms, choppy guitar licks 

and heavier breakdowns that crescendo 

into powerhouse choruses. Slapbak has 

channeled the two best genres of the ’70s: 

rock and funk. Doubled vocal lines help 

choruses catch on quickly, occasional rap 

verses add a visceral intensity and Contreras’ 

backup vocals seduce the listener. 

Musicianship: Harris slaps, plucks and 

fingerpicks his bass—a rich, deep tone— 

with a purpose and forms a tight pocket with 

Conlee, who has solid time and a poppy 

feel. Smith holds down the rhythm on his 

Fender Stratocaster, but could solo more to 

emphasize the band’s jam quality. Harris’ 

keyboard is often subdued. Assertive playing 

can help fuse with Smith’s licks. Contreras 

has complete control of her dynamic vocal 

range and could be featured on more of the 

material. Finally, Quake is a hype-man and 

SLAPBAK 

an energetic rapper, but he could work on 

annunciating to help make the vocals clearer. 

Performance: It was a funky, sweaty night, 

replete with jumping, dancing and high 

energy. Opening with a soulful rendition of 

“Low Rider,” Slapbak took command of the 

audience and didn’t release them until the 

final snare. The band was obviously wellrehearsed, 

smoothly transitioning from one 

song to the next without hesitation. Harris’ 

dirty bass line gelled with Conlee’s expressive 

groove on “Pure Funk,” which hearkened back 

to James Brown in his prime era. 

The band intermixed covers with originals. 

Quake constantly elevated the crowd’s energy, 

encouraging dancing and participation. 

The crowd was incredibly responsive to 

“Fakin My Music” and “Never Fake The 

Funk,” which boasted a liquid bass line with 

melodic breakdowns, where sultry keys 

held everything together. After a voluptuous 

“Uptown Funk,” Slapbak closed with a 

powerful punch: the fuzzy, grimy “Payback.” 

Summary: Slapbak brings the funk. The band 

writes solid material that catches on quickly, 

but could feature more solos. This wellrehearsed 

group is not to be missed. 


VINCENT STEVENS 

April 2015 


51

The Whisky A Go Go West Hollywood, CA 

Contact: johnyteehee@yahoo.com 

Web: facebook.com/slickdicks 

The Players: Johnny Tee, guitar, vocals; 

Simon Steele, bass and vocals; Mike “Metal 

Mike” Edwards, drums. 

Material: The spirit of ‘80s metal and rock & 

roll is alive in the energetic, distorted songs of 

Slick and Wicked. Hollow sounding drums and 

rich bass tone epitomize the arena rock feeling, 

but the material lacks the strength to propel 

Slick and Wicked into the limelight. Songs like 

“Garbage” or “Pulling Teeth” seem lackluster 

and could use musical and lyrical revision. Most 

of the lyrics are empty and repetitive, and the 

guitar parts are a tad sloppy. Cleaning up the 

picking, refining the vocals and changing up 

song structure could drastically change this 

band’s material. 

Musicianship: Simon Steele plays his parts 

straight up the middle, but weaves in and out of 

time with the drummer, Mike Edwards. Edwards, 

who has solid time, hammers the skins, which 

gives the material a sturdy foundation. His drum 

fills, however, could be more assertive and 

varied. Johnny Tee competently strums his axe, 

achieving a grizzly yet melodic tone. His raspy 

vocals add grit to the genre, which is something 

Steele should take note of. 

Performance: There’s nothing more rock & 

roll than watching a group of sweaty guys jam 

on stage having a blast. Tee crouched down in 

his solos, violently caressing his guitar, while 

Steele plucked his bass, which had a deep, 

solid tone emitting from his Mark Bass amp, 

Bowery Ballroom New York, NY 

Contact: amber@bigpicturemediaonline.com 

Web: darkwaves.com 

The Players: Nick Long, vocals, guitar; Chris 

Greatti, guitar, backing vocals; Ian MacGregor, 

bass; Jared Shavelson, drums. 

Material: Los Angeles-based Dark Waves 

brought their own brand of indie rock to 

an eager and receptive audience. Aptly 

dubbed “electro-romantic,” they combine 

live instrumentation with electronic elements 

while thematically grappling with relationship 

woes. Longing, disappointment and isolation 

are tackled with sober restraint and a nonsentimental 

approach conveyed by strong 

imagery and thoughtful lyrics. This is evident 

in “I Don’t Wanna Be In Love,” the strongest 

song from their new EP: “If all that we are is 

too much in scars, lines in a movie, the same 

fated song, we both sing along, then I don’t 

wanna be in love.” In “Echo,” trying to forget a 

failed triste evokes a mood of emptiness and 

obsession: “And every time I try to let go you 

keep coming back like an echo.” 

Musicianship: Frontman and songwriter Nick 

Long’s sultry, resonant bass voice and driven 

guitar work commands immediate attention. 

The overall interest level was heightened by 

the clarity of the lyrics. Many rock bands rely 

on the musical vibe for their performance, and 

the lyrics are often obscured and accepted 

on faith. Maybe you never learn what they 

are until you read them. While sticking to his 

SLICK AND WICKED 

and maintained the power stance. “Lost Souls 

of Hollywood,” a song played halfway through 

the set, had a haunting, minor-chord riff and a 

vibrato filled guitar solo. The song broke down 

into a jazzy section, which didn’t fit the mood or 

flow of the song. 

Steele and Tee traded off vocals, but Tee’s 

rasp and overall energy proved stronger. 

Steele’s vocals also started wavering midway 

through the set, and his harmonies suffered. 

“One More for the Road” was the climax of the 

show: a balls-out, testosterone filled rocker 

DARK WAVES 

musical guns, Long did so without sacrificing 

the words. With each band member equally 

pulling his weight, they combined clean, wellexecuted 

playing with electronica elements 

and compelling arrangements. 

Performance: Dark Waves’ presentation 

was a no nonsense, no gimmicky affair—just 

solid, straight-ahead playing and good songs. 

They capitalized on their 30 minutes in the 

spotlight while still sparing a few moments to 

connect with the audience. Not straying too 

far afield from their subject matter, the band 

kept their musical statement pretty consistent, 

with with a gritty riff. The other songs such as 

“Fractured Skull” or “Go for the Throat” just 

didn’t stand out. 

Summary: It is evident that the guys in Slick 

and Wicked enjoy playing rock music. The thrill 

of performing is admirable and entertaining, 

but that only gets a band so far. Polishing 

musical chops, reworking the songwriting and 

composing more meaningful lyrics will set Slick 

and Wicked in a positive direction. 


which didn’t offer as much variety as a longer 

set with more peaks and valleys might allow. 

Nevertheless, they succeeded in keeping the 

crowd engaged. 

Summary: Dark Waves projects a maturity 

and centeredness not always present in a 

band at this career juncture. They used their 

time on stage economically, leaving behind 

a pretty strong footprint, which bodes well 

for their future. While some songs are more 

memorable than others; each possesses a 

craft and a mindfulness that is meaningful and 

complex. 

– Ellen Woloshin 

MARK SHIWOLICH VINCENT STEVENS 


of hip-hop. From samples to breakbeats to 

jazzy instrumentals, these funky homo sapiens 

get down like James Brown. Their songs 

are original, provoking thought that gives the 

listener a unique perspective from the inside 

looking out. 

Musicianship: With seven albums deep and 

independently grinding, these three musicians 

understand their potential and mass appeal. 

Their production sounds orchestral, with live 

instrumentation comprising piano, strings, 

cello and booming bass. MC Pressure and 

Suffa are sonically in sync, and DJ Debris colors 

the music over their voices. 

HILLTOP HOODS 

The Roxy Theatre Los Angeles, CA 

Contact: info@bluemaxmusic.com.au 

Web: hilltophoods.com 

The Players: Suffa, emcee, producer; MC 

Pressure, emcee; DJ Debris, DJ. 

Material: What do you get when you mix 

the swag of Run-DMC with the persona of 

Crocodile Dundee? You get Australia’s very 

own Hilltop Hoods. Two emcees and a DJ, 

this independent rap trio embodies the spirit 

DANIEL SEYUM 

Performance: At this show, Hilltop delivered 

a remarkable set. Suffa gave a solo a 

cappella that had MC Pressure adlibbing, 

transitioning to the reflective “I’m a Ghost” 

where they delved into certainties of their 

future, and how they must come to grips with 

death. Consistently engaging with their audience, 

the trio performed hits such as “I Love 

It,” “Cosby Sweater” and “Rattling the Keys 

to the Kingdom.” The crowd was amped and 

tuned-in––and a little long-winded––but it did 

not deter the Hoods from giving a balanced 

performance worth the price of admission. 

Summary: It’s no mystery that Hilltop Hoods 

are the underground kings of Australian hiphop 

music. They are visionaries, philanthropists, 

businessman, but most of all, organic 

artists, taking an indie approach, delivering 

their services to those who care to embrace 

them. They are role models and a guiding 

light to up-and-coming artists, worldwide. 

– Adam Seyum 

April 2015 


53

Directory of 

Guitar/Bass Instructors & Services 

Updated for Updated 2015, Music for 2015, Connection’s MC’s exclusive, exclusive, national national list of list guitar/bass of guitar/bass instructors instructors and service/repair and personnel personnel will help will help connect connect you you with 

experienced with experienced professionals pros nationwide. For For more more exclusive lists of lists industry of industry pros, visit pros, musicconnection.com/industry-contacts. 

visit 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. 


480-894-3346 

E-mail: kurt@tonalcenter.com 

Web: www.tonalcenter.com 

CALIFORNIA 

AARON WOLFSON 

Los Angeles, CA 

323-650-9400 

E-mail: aaronwolfson@aol.com 

Web: www.aaronwolfson.com 

Contact: Aaron 

Basic Rate: call for rates 

Styles/Specialties: All styles. Learn what you 

want to know. Guitar, bass, piano, songwriting, 

music theory for all instruments; including 

vocals. 

ADAM’S MUSIC 

10612 W. Pico Blvd. 

Los Angeles, CA 90064 

310-839-3575 

E-mail: info@adamsmusic.com 

Web: www.adamsmusic.com 




AGOURA MUSIC 

5160 Kanan Rd. 

Agoura Hills, CA 91301 

866-754-2671 

E-mail: AgouraMusicRocks@yahoo.com 

Web: www.agouramusic.com 




ALHAMBRA SCHOOL OF MUSIC 

226 E. Main St. 

Alhambra, CA 91801 

626-282-1400 

E-mail: alhschoolmusic@yahoo.com 

Web: www.Alhambraschoolofmusic.com 



ALMIGHTY GUITAR PLANET 


Ventura, CA 93001 

805-648-4633 

Web: www.guitarplanet.us 




ALTA LOMA MUSIC 

8615 Baseline Rd. 

Rancho Cucamonga, CA 91730 

909-989-5757 

Web: www.facebook.com/altalomamusic. 

rancho 


AMUSE 

43-C Peninsula Center 

Palos Verdes, CA 90274 

310-377-7838 

E-mail: chris@amusemusic.com 

Web: www.amusemusic.com 




ANAHEIM HILLS GUITAR 

AND BASS LESSONS 

300 S. Blackberry Ln. 

Anaheim, CA 92808 

714-457-4342 

E-mail: foelsch@sbcglobal.net 

Contact: Keith Foelsch 

Basic Rate: $20/half-hr., $30/hr. 

Clients: From beginners to top pros 

Styles/Specialties: I regularly perform in 

arenas and concert clubs with top national acts. 

I teach all styles. Learn how to play chords and 

solos in any key, or how to make up bass parts 

easily, so you can record and perform with all 

types of bands. 

ANDY BRAUER SERVICE COMPANY 

North Hollywood, CA 

Santa Clarita, CA 

818-631-3777 

Contact: Andy Brauer 

E-mail: andybrauerguitar@gmail.com 

Web: www.facebook.com/andybrauer 

Services: Repair 

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 




ARROW MUSIC CENTER 

4317 Tweedy Blvd. 

South Gate, CA 90280 

323-569-5700 

E-mail: rosa@arrowmusic.com 

Web: www.arrowmusic.com 




BANANAS AT LARGE 

1504 4th St. 

San Rafael, CA 94901 

888-900-1959, 415-457-7600 

E-mail: info@bananasmusic.com 

Web: www.bananasmusic.com 

Basic Rate: call or check website for info 

Additional Location: 

515 Ross St. 

Santa Rosa, CA 

707-542-5588 

BARKER’S MUSIC 

3125 McHenry Ave., Ste. F 

Modesto, CA 95350 

209-526-0347, 209-996-9773 

E-mail: kyle@barkersmusic.com, kyle@ 

barkermusic.com 

Web: www.barkersmusic.com 


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 




BAXTER/NORTHUP MUSIC 



818-788-7510 

E-mail: baxternorthupmusic@gmail.com 

Web: www.baxternorthup.tumblr.com 




B. HEFNER COMPANY 

11701 3/4 Washington Blvd. 

Whittier, CA 90606 

562-945-9490 

E-mail: bhefnerco@clear.com 

Web: www.bhefner.com 

Services: Along with building Fender licensed 

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. 

BILLY BURKE 

123 E. Montecito Ave. “C” 

Sierra Madre, CA 91024 

626-622-6123 

E-mail: billy@lovelessmotel.com 

Web: www.lovelessmotel.com 


BOULEVARD MUSIC 

4316 Sepulveda Blvd. 

Culver City, CA 90230 

310-398-2583 

Web: www.boulevardmusic.com 




BRUCE GARNITZ MUSIC 


310-397-8488 

E-mail: bgsongs@me.com 

Notes: For guitar students, he teaches guitar 

styles that include jazz, blues, rock, folk 

and pop. All levels welcomed--beginning, 

intermediate and advanced students. He is 

also known for helping singer/songwriters 

accompany themselves and showing rock band 

guitarists how to “lock into the groove” when 

playing with a band. Improvisation for classical 

musicians is also a specialty. 

**Call for an appointment. Flexible Hours. 

BRUCE MONICAL 

Music Instruction for all ages 


818-994-9990 

E-mail: brucemoni@yahoo.com 

Private lessons on guitar, bass, drums, 

percussion and keyboards 

**Call for rates 

BURBANK GUITAR STUDIO 

1813 N. Rose Street 

Burbank, CA 91505 

818-848-4866, 818-842-9437 

E-mail: burbankguitar@sbcglobal.net 

Web: www.burbankguitarstudio.com 


CALIFORNIA VINTAGE GUITAR AND AMP 

5244 Van Nuys Blvd. 


818-789-8884 Fax 818-789-8827 

Web: www.californiavintageguitarandamp.com 

E-mail: sales@californiavintageguitarandamp. 

com 

Specialties: We sell top-of-the-line new and 

vintage guitars and amps including Fender, 

Gibson, Gretsch, Martin, Guild, National 

Resophonic and Eastman dealers. We 

have been actively dealing in vintage and 

professional quality guitars, amplifiers and 

other stringed instruments in the Southern 

California area since 1968, and pride ourselves 

on being a guitar show and not a big store. 

CANOGA SCHOOL OF MUSIC 

7361 Canoga Ave. 

Canoga Park, CA 91303 

818-340-4021 

Contact: Ted Kraut 

E-mail: ted@canogaschoolofmusic.com 

Web: www.canogaschoolofmusic.com 


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 


CHARLES MUSIC CENTER 

421 N. Glendale Ave. 

Glendale, CA 91206 

818-242-6597, 323-245-3096 

Fax 818-242-1214 

E-mail: george@charlesmusicstore.com 

Web: www.charlesmusicstore.com 


COAST MUSIC 

24002 Via Fabricante, Ste. 308 

Mission Viejo, CA 92691 

949-768-8783 

Web: www.coastbandmusic.com 



Styles/Specialties: all styles, additional 

location in San Clemente 

Additional locations: 

4970 Irvine Blvd. #109 

Irvine, CA 92630 

714-731-3415 

CRAIG BECK 

Santa Clarita, CA 

661-296-8685 

Web: www.getlessonsnow.com/craigbeck 




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 


House Calls: yes 

DANA GONZALES 

1412 E. Maple St. #A 


323-841-8055 

E-mail: ledgemusic@yahoo.com 




DIETZ BROS. MUSIC 

240 S. Sepulveda Blvd. 

Manhattan Beach, CA 90266 

310-379-6799 

E-mail: john@dietzbrothersmusic.com 

Web: www.dietzbrothersmusic.com 



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 


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 


818-506-6873 

E-mail: inq092009@druminstruction.org 

Web: www.musicalskills.com 

Basic Rate: see web 

Clients: All levels. Forty percent of students 

already professional, many quite accomplished. 

Serious beginner and intermediate students 

also welcome. 

Styles/Specialties: method taught one-onone, 

specializing in piano, guitar and bass, and 

applying to any style, for greatly increasing the 

“musician skills” and knowledge typically not or 

poorly addressed in music lessons or classes. 

FRET HOUSE, THE 

309 N. Citrus Ave. 

Covina, CA 91723 

626-339-7020, 800-BET-FRET 

Web: www.frethouse.com 




FULLERTON MUSIC CENTER 

121 N. Harbor Blvd. 

C O M P I L E D B Y D E N I S E C O S O 

54 

April 2015 


54

Download at musicconnection.com/industry-contacts 

Fullerton, CA 92832 

714-871-1805 

E-mail: info@mosfullertonmusic.com 

Web: www.mosfullertonmusic.com 


Level: all 


Notes: full line music store 

GEORGE FOSTER 

Hollywood, CA 


Sherman Oaks, CA 

818-505-0840 

E-mail: georgefosterband@hotmail.com 

Web: www.georgefostermusic.com 


Clients: all levels, kids and beginners 

Styles/Specialties: blues, rock and jazz 

Notes: Performance degree from Berklee 

College of music. 

*House calls. 

GERARD’S GUITARS 


Tarzana, CA 91356 

818-344-8482 

E-mail: sulc@wgn.net 

Web: www.gerardsguitars.com 

Clients: All Ages Styles and Levels 


GILMORE MUSIC 

1935 E. 7th St. 

Long Beach, CA 90813 

562-599-1369 

E-mail: lbgilmoremusic@yahoo.com 

Web: www.gilmoremusicstore.com 




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 


Styles/Specialties: Combined Contemporary 

and Classical 

*Note: Over 30 years experience, taught over 

1,700 students, including Michael Einziger of 

Incubus 

GRAYSON’S TUNE TOWN 

2415 Honolulu Ave. 

Montrose, CA 91020 

818-249-0993 

E-mail: graysonstunetown@sbcglobal.net 

Web: www.graysonstunetown.com 

Basic Rate: Check website for rates and 

teachers bios 



GUITAR ALLEY 

11701 3/4 Washington Blvd. 

Whittier, CA 90606 

562-945-9490 

E-mail: repair@guitarrepairalley.com 

Web: www.guitarrepairalley.com 

Services: Guitar Alley is the premier Hot 

Rod Shop just for your guitar. We carry a full 

inventory of bodies, necks, miscellaneous 

guitar parts and accessories. Our repair shop 

is second to none. Being a manufacturer 

we have the highest rating among all guitar 

companies when it comes to warranty work. 

Call for any of your guitar repair needs. Over 

28 years experience, 100% satisfaction. 

GUITAR GALLERY 



818-578-3262 

E-mail: boghratguitar@gmail.com 

Web: www.laguitarlesson.com 



Styles/Specialties: classical, flamenco, pop 

GUITAR MERCHANT, THE 

7503 Topanga Canyon Blvd. 

Canoga Park, CA 91303 

818-884-5905 

E-mail: theguitarmerchant@yahoo.com 

Web: www.guitarmerchant.com 


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 


Clients: all levels, all ages 


Additional location: 

3840 Woodruff Ave., Ste. 109 


562-627-0464 

HAL OPPENHEIM 


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: mark@hamrockmusic.com 

Web: www.hamrockmusic.com 

Contact: Mark Hamrock 

INSTRUMENTAL MUSIC 

1501 Thousand Oaks Blvd. 

Thousand Oaks, CA 91360 

805-496-3774 

Web: www.instrumentalmusic.com 

Basic Rate: start at $30/hr. 




Ventura, CA 93001 

805-654-9388 


3328 State St. 

Santa Barbara, CA 93105 

805-569-5055 

JES SELANE 


323-251-6078 

E-mail: terry@abstracttalentagency.com 

Web: www.selane.com 

Contact: Terry Mandel 

Styles/Specialties: Rock, blues, metal, 

pop, jazz. Top celebrity references, 18 years 

teaching experience 

Basic Rates: call for more info or see lesson 

section on website 

JIM’S MUSIC CENTER 

14061 Newport Ave. 

Tustin, CA 92780 

714-669-3600, 800-644-6874 

Fax 714-669-3030 

E-mail: info@jimsmusic.com 

Web: www.jimsmusic.com 

House Calls: no 

Clients: beginner to expert 


JOHN MAURICE DOYLE 

Green Monster Music 

4543 Carpenter Ave. 


818-358-3810 

E-mail: customer_service@ 

greenmonstermusic.com 

Web: www.greenmonstermusic.com 




JOHNNY THOMPSON MUSIC 

222 E. Garvey Ave. 

Monterey Park, CA 91755 

626-280-8783 

E-mail: jtmusic@hotmail.com 

Web: www.johnnythompsonmusic.com 




JOHN TAPELLA 


818-270-0768 

E-mail: John@guitarempire.com 

Web: www.guitarempire.com 

Basic Rate: please call or email for info 

Clients: Beginning to advanced 

Styles/Specialties: All styles 

Notes: Guitar Transcriber for Hal Leonard, 20 

years experience. 

**Online Skype, one on one, lessons available 

contact John@guitarempire.com 

JOIN THE BAND MUSIC LESSONS STUDIO 

Music Lessons For All Ages 

Van Nuys, CA 

818-345-8950 

E-mail: classes@jointheband.com 

Web: www.jointheband.com 

Basic Rate: call for info or see our website 


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 

866-224-6316, 805-426-6803 

E-mail: sales@kashaamplifiers.com, SKYPE 

Web: www.kashaamplifiers.com 

Products: Amplifiers, effect pedals, 

modification systems 

KAYE’S MUSIC SCENE 

19369 Victory Blvd. 

Reseda, CA 91335 

818-881-5566 

E-mail: gkayesmusicscene@aol.com 

Web: www.kayesmusicscene.com 




KRUSE KONTROL AMPLIFICATION 

Sun Valley, CA 91352 

818-333-6781 

E-mail: info@krusekontrol.com 

Web: www.krusekontrol.com 

Basic Rate: rates determined by service type 

Styles/Specialties: repair/service 

of tube+solid state amps including 

modifications+overhaul 

LA HABRA MUSIC 

1885 W. La Habra Blvd. 

La Habra, CA 90631 

562-694-4891 

E-mail: info@lahabramusic.com 

Web: www.lahabramusic.com 





1191 Magnolia Ave. Ste. B 

Corona, CA 92882 

951-898-2630 

LA MIRADA MUSIC 

14928 Leffingwell Rd. 

La Mirada, CA 90638 

562-941-4495 

E-mail: lamiradamusic@gmail.com 

Web: www.facebook.com/LaMiradaMusic 




LAGUNA HILLS MUSIC 

23011 Moulton Pkwy., Ste. E9 

Laguna Hills, CA 92653 

949-830-4310 

E-mail: lagunahillsmusic@yahoo.com 

Web: www.lagunahillsmusic.com 




L.A. MUSIC ACADEMY 

300 Fair Oaks Ave. 

Pasadena, CA 91105 

626-568-8850, 800-960-4715 (U.S. only) 

E-mail: info@lamusicacademy.edu 

Web: www.lacm.edu 

LARRY LARSON MUSIC STORE 

1607 W. Glenoaks Blvd. 


818-244-7608, 818-240-1343 

E-mail: leigh@larrylarsonmusicstore.com 

Web: www.larrylarsonmusicstore.com 




LESSONSTHATROCK MUSIC LESSONS 


Orange County, CA 

562-773-0422 

Web: www.lessonsthatrock.com 

Contact: Micah J. Mata, owner 

LON COHEN STUDIO RENTALS 


818-762-1195 Fax 818-762-1196 

E-mail: office@loncohen.com 

Web: www.loncohen.com 


Services: We rent top of the line backline 

(guitars, basses, amps, keyboards and 

drums), which can be heard on records from 

Aerosmith to ZZ Top and have been seen on 

television from Conan to Lopez. We also offer 

cartage, temp. controlled storage, and world 

class guitar, bass and amp repair. 

LONG BEACH SCHOOL OF MUSIC 

3840 Woodruff Ave., Ste.109 


562-627-0464 

Web: www.longbeachschoolofmusic.com 


Clients: all levels, all ages 



1710 S. Pacific Coast Hwy. 

Redondo Beach, CA 90277 

310-540-6767 

Web: southbayschoolofmusic.com 

Peninsula School of Music 

31244 Palos Verdes Dr. W. #205 

Rancho Palos Verdes, CA 

Web: www.pvpeninsulamusic.com/index.html 

310-918-0439 

MARINI’S MUSIC 

222 W. Main 

Alhambra, CA 91801 

626-289-0241 

E-mail: marinimusic@gmail.com 

Web: www.marinimusic.com 




MAR VISTA RECORDING 

Guitar and Bass lessons with Heart 

Mar Vista, CA 90066 

310 467-0889 

E-mail: remmusic@verizon.net 

Contact: Jerry Manfredi 

Basic rate: $50.00 

Notes: I have been teaching for over 25 years 

all styles beginners and pros. 

McCABE’S GUITAR SHOP 

3101 Pico Blvd. 

Santa Monica, CA 90405 

310-828-4497 Fax 310-453-4962 

E-mail: mccabessm@aol.com, matt@ 

mccabes.com 

Web: www.mccabes.com 




*Also banjo, uke, mandolin, fiddle, 

Appalachian (fretted) dulcimer 

MOREY’S MUSIC STORE INC. 

4834 Woodruff Ave. 

Lakewood, CA 90713 

562-420-9532 

E-mail: info@moreysmusic.com 

Web: www.moreysmusic.com 




MOUNTAIN DOG MUSIC WORKS 

485 N. Ventura Ave., Ste. E3 

Oak View, CA 93022 

805-649-8500 

E-mail: mdmrecording@aol.com 

Web: www.mountaindogmusic.com 

Contact: Tim Frantz 

Services: guitar, bass, keyboards, recording, 

song production--lessons are tailored to the 

individual 

MUSICIAN’S DEPOT 

30839 Thousand Oaks Blvd. 

Westlake Village, CA 91362 

818-706-3795 

E-mail: musiciansdepot@sdk3.com 

Web: www.musiciansdepot.biz 



MUSICIANS INSTITUTE 

6752 Hollywood Blvd. 

Hollywood, CA 90028 

800-255-7529, 323-462-1384 

E-mail: admissions@mi.edu 

Web: www.mi.edu 


Level: beginner to expert 



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. 


714-974-0830 

E-mail: info@musicmakerinc.com 

Web: www.musicmakerinc.com 




MUSIC STORE, THE 

785 Pinefalls Ave. 

Diamond Bar, CA 91789 

909-598-1921 

Web: www.atthemusicstore.com 


Directory of Guitar/Bass Instructors & Services 



MUSIC WORKS 

4711 Artesia Blvd. 

Lawndale, CA 90260 

310-379-5194 


Clients: beginner to intermediate 


NEAL’S MUSIC 

6908 Warner Ave.Huntington Beach, CA 

92647714-842-9965 

E-mail: guitardealsinfo@aol.com 

Web: www.nealsmusic.com/shop 




NORMAN’S RARE GUITARS 



Store 818-344-8300 

E-mail: normsgtrs@aol.com 

Web: www.normansrareguitars.com 

Basic Rate: $25 per 1/2 hour or $50 per hour 



PETE’S MUSIC AND GUITAR SHOP 

2060 S. Euclid 


714-534-7383 

E-mail: guitarfish@petesmusic.com 

Web: www.petesmusic.com 

Basic Rate: lessons start at 4 classes for 

$59.95 (beginners) 


Styles/Specialties: group lessons, and 

lessons for all styles and all levels 


29800 Bradley Rd. #107 

Corner of Newport and Bradley 

Sun City, CA 

951-301-8088 

28780 Old Town Front St., Ste. A-4 

Temecula, CA 

951-308-1688 

PJ LABINSKI 

Burbank, CA 

323-807-1834 

E-mail: pj@underthegroove.com 

Web: www.underthegroove.com/home.htm 


Styles/Specialties: all styles, levels 

ROARK’S GUITAR INSTRUCTION 

618 N. Madison Ave. 

Pasadena, CA 91101 

626-796-3026 

E-mail: roark_h1@yahoo.com 

Basic Rate: $35 per hr. 

Clients: all Levels 

Styles/Specialties: all, electric, acoustic rock, 

folk, finger style, classical, improvisation 

ROCKENBACK MUSIC GROUP 

P.O. Box 20093 

Piedmont, CA 94620 

510-531-5625 

E-mail: jock@rockenbachmusic.com 

Web: www.rockenbachmusic.com 

Contact: Jock Rockenbach 

SANTA MONICA MUSIC CENTER 

1901 Santa Monica Blvd. 


310-453-1928 

E-mail: sales@santamonicamusic.com 

Web: www.santamonicamusic.com 

Basic Rate: call/e-mail for info 



SINGER MUSIC 

1217 N. Hacienda Blvd. 

La Puente, CA 91744 

626-917-9300 

E-mail: singermuzik@aol.com 

Web: www.singermusic.com 

Basic Rate: call/e-mail for info 

SOUTHERN CALIFORNIA 

CONSERVATORY OF MUSIC 

22726 Roscoe Blvd. 

West Hills, CA 

818-704-3819 

E-mail: info@sccm.us 

Web: www.sccmusic.com 



Styles/Specialties: jazz, classical 

Notes: special programs for the visually 

impaired 

SOUTH PASADENA MUSIC CENTER & 

CONSERVATORY 

1509 Mission St. 

S. Pasadena, CA 91030 

626-403-2300 

E-mail: spmc@att.net 

Web: www.southpasadenamusic.com 

SQUID MUSIC 

10742 Beach Blvd. 

Stanton, CA 90680 

714-826-4000 

Web: squid.net 




STEIGER 

323-854-1873 

E-mail: Steiger_Rocks@yahoo.com 

Web: www.steigermusic.com 

Contact: Ken Steiger 


Clients: all levels and all ages 

Styles/Specialties: blues, rock, metal, shred 

Notes: Home and office lessons available. 

Exercise handouts and jam trax 

STEPHEN DICK 

Mojacar Flamenco 

South Pasadena, CA 91030 

626-403-7489 

E-mail: stephen@mojacarflamenco.com 

Web: www.mojacarflamenco.com, 

www.studioflamenco.com 

STYLES MUSIC 

777 E. Foothill Blvd. 

Pomona, CA 91767 

909-621-0549 

E-mail: gregg@stylesmusic.com 

Web: www.stylesmusic.com 




THE TEC SHOP 

3940 Studio Laurel Canyon 


818-508-1070 

E-mail: info@the-tecshop.com 

Web: www.proaudio-repair.com 

Services: We repair all tube and solid state 

amps including Fender, Gk, Marshall, Roland 

etc. 

TIMEWARP MUSIC 

12257 Venice Blvd. 

Los Angeles, CA 90066 

323-600-5050 

E-mail: timewarpmusic1@yahoo.com 

Web: www.timewarpmusic.com 


Notes: also specializes in repairs and lessons 

TRUETONE 

714 Santa Monica Blvd. 


310-393-8232 Fax 310-260-1415 

E-mail: sales@truetonemusic.com 

Web: www.truetonemusic.com 

Contact: Shawn Fleming 




VALDEZ GUITAR SHOP 

7420 W. Sunset Blvd. 

Hollywood, CA 90046 

323-874-9998 




VENTURA MUSIC 



818-761-9669 

Specialty: We buy, sell, trade, repair and 

service top-quality used guitars, basses and 

amps including Fender, Gibson, Gretsch, 

Marshall, Silvertone and more. 

VPR STUDIOS 

Los Alamitos, CA 

562-310-2753 

E-mail: vpr_studios@yahoo.com 


Clients: beginners to intermediate guitarist 

and bassist 


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 


Woodland Hills, CA 91364 

818-883-0050 

Web: www.woodlowe.com 




COLORADO 

BROADWAY MUSIC SCHOOL 

1940 S. Broadway 

Denver, CO 

303-777-0833 

E-mail: info@broadwaymusicschool.com 

Web: www.broadwaymusicschool.com 


DENVER MUSIC INSTITUTE 

4195 S. Broadway 

Englewood, CO 80113 

303-788-0303 

E-mail: denvermusicinstitute@msn.com 

Web: www.denvermusicinstitute.com 


DICK MEIS SCHOOL OF STEEL GUITAR 

8932 Bruce St. 

Denver, CO 80260-4909 

877-380-1010, 303-428-4397 

Web: www.pedalsteelguitar.net 


FLESHER-HINTON MUSIC COMPANY 

3936 Tennyson St. 

Denver, CO 80212 

303-433-8891, 800-225-8742 

E-mail: info@flesherhinton.com 

Web: www.flesherhinton.com 


OLDE TOWN PICKIN’ PARLOR 

7515 Grandview Ave. 

Arvada, CO 80002 

303-421-2304 

E-mail: unclekit@picknparlor.com 

Web: www.picknparlor.com 


FLORIDA 

GUITAR INSTITUTE OF FLORIDA AND 

F.A.M.E. 

6507 N.W. 26th Terrace 

Gainesville, FL 32653 

352-870-4794 

E-mail: guitarflorida@msn.com 

Web: www.guitarflorida.wix.com/jeff 

Contact: Jeff Lightnin Ladenheim 

MIAMI MUSIC WORKS, INC. 

11771 S. Dixie Hwy. 

Miami, FL 33156 

305-256-1655 

E-mail: miamimusicworks@aol.com 

Web: www.miamimusicworks.com 


RON KAYE’S MUSIC INSTRUCTION 

4696 Kimberly Dr. 

Pensacola, FL 32526 

850-453-9966 

Web: www.rkmusicinstruction.com 

SAM ASH MUSIC CORPORATION 

Paul J. Ash, President 

7726 Cheri Ct. 

Tampa, FL 33634 

1-800-472-6274 

E-mail: help@samash.com 

Web: www.samash.com 

Notes: Serving Musicians since 1924 

GEORGIA 

HOWIE BENTLEY 

Cumming, GA 

Alpharetta, GA 

770-889-8520 

E-mail: mail@howiebentley.com 

Web: www.howiebentley.com 

VISION MUSIC LIVE 

Atlanta, GA 

404-229-1282 

E-mail: info@visionmusiclive.com 

Web: www.visionmusiclive.com 


SANDY SPRINGS MUSIC 

5920 Roswell Rd., Ste. D-201 

Atlanta, GA 30329 

404-250-0406 

E-mail: info@sandyspringsmusic.com 

Web: www.sandyspringsmusic.com 


HAWAII 

CHUCK JAMES MUSIC STUDIO 

Westgate Plaza 

94-360 Pupupani St. 

Waipahu, HI 

808-678-3763 

Web: www.chuckjamesmusicstudio.com 


Stadium Mall 

4510 Salt Lake Blvd. 

Honolulu, HI 

808-488-1101 

Central Oahu and North Oahu 

10 N. Kamehameha High, #1 

Wahiawa, HI 

808-678-3763 

KAILUA MUSIC SCHOOL 

131 Hekili St., #209 

Kailua, HI 96734 

808-261-6142 

E-mail: info@kailuamusicschool.com 

Web: www.kailuamusicschool.com/guitar.htm 

Basic Rate: see website 

ILLINOIS 

CENTER SCHOOL OF MUSIC 

900 N. Franklin St. 

Chicago, IL 60610 

312-416-0622 

E-mail: info@chicagoschoolofmusic.com 

Web: www.centerschoolofmusic.com 


CHICAGO GUITAR LESSONS 

3021 N. Troy 

Chicago, IL 60618 

773-583-2529 

E-mail: guitar@chicagoguitarlessons.com 

Web: www.chicagoguitarlessons.com 

Contact: Michael Powell 

Basic Rate: $35/hr 

Clients: 16 to 40 years of age 

Styles/Specialties: electric, acoustic, rock, 

finger-style 

GUITAR CHICAGO 

150 N. Michigan Ave. 

Chicago, IL 

312-863-8588, SKYPE 

E-mail: info@guitarchicago.com 

Web: www.guitarchicago.com 


MUSICAL EXPRESSIONS OF ILLINOIS LLC 

190 E. 5th Ave. 

Naperville, IL 60563 

630-355-1110 

Web: www.musicalexpressions.net 


LOUISIANA 

ANDY HYMEL SCHOOL OF MUSIC 

1800 Stumpf Blvd., Unit 2 

Terrytown, LA 70056 

504-362-1212 

E-mail: andyhymelschool@bellsouth.net 

Web: www.AndyHymelSchoolofMusic.com 


COVINGTON SCHOOL OF MUSIC 

1111 Village Walk 

Covington, LA 

985-590-4545 

E-mail: webmail@laapa.com 

Web: www.laapa.com 


MANDEVILLE SCHOOL OF MUSIC 

316 Girod St. 

Mandeville, LA 70448 

985-674-2992 


Web: www.laapa.com 


RIVER RIDGE SCHOOL 

OF MUSIC & DANCE 

2020 Dickory Ave., Ste. 200 

Haraham, LA 

504-738-3050 


Web: www.metairieschoolofmusic.com 

Basic Rate: $75/month 

Services: guitar, bass, vocals, piano, drums 

MAINE 

THE GUITAR STUDIO 

Portland, ME 

207-773-3444 

E-mail: info@guitarstudio.com 

Web: www.myguitarstudio.com 

Styles: Jazz, Blues, Country, Rock, Music 

Theory 

Services: beginner to professional 

Notes: 25 years of teaching experience 

MARYLAND 

DAVE DEMARCO 

410-299-4744 

E-mail: dave@davedemarco.com 

Web: www.marylandbasslessons.com 

56 

April 2015 

musicconnection.com


COLUMBIA GUITAR SCHOOL 

410-868-7131 

Pontiac, MI 48342-2336 

E-mail: 248-335-7015 scott@columbiaguitarschool.com 

Web: E-mail: www.columbiaguitarschool.com 

art@freshhotshirts.com 

Web: www.freshhotshirts.com 

MIKE ELZEYS GUITAR STUDIO 

410-228-7199 

FRONTGATE MEDIA 

22342 Avenida Empressa, #260 

E-mail: 

Rancho 

mikeelzeysguitarstudio@yahoo.com 

Santa Margarita, CA 92688 

Web: 

949-429-1000 

mikeelzeysguitarstudio.com 

Web: www.frontgatemedia.com 

Services: 

MASSACHUSETTS 

Full service, strategic merchandising 

company designing and producing apparel 

LEEDS and accessories GUITARMAKERS’ for brands and SCHOOL bands, 

12 ministries N. Main and St. movements, and companies and 

P.O. conferences. Box 434 

Williamsburg, MA 01096 

413-548-0034 

GEARHEAD RECORDS 

E-mail: 8704 Milo ivon@leedsguitar.com 

Ct. 

Web: Elk Grove, www.leedsguitar.com 

CA 95624 

Cost: 916-897-2451 please call or see web for info 

E-mail: info@gearheadrecords.com 

Web: www.gearheadrecords.com 

MICHIGAN 

AXIS GIGART MUSIC ACADEMY 

Metro 

San Francisco, 

Detroit Area 

CA 

248-799-8100 

E-mail: mail@gigart.com 

Web: www.gigart.com 

E-mail: mmoy@axismusic.com 

Web: GO MERCH www.axismusic.com 

Basic E-mail: Rate: support@gomerch.com 

call for info 

Web: www.gomerch.com 

Additional Services: apparel/product, locations: e-mail blasts, social 

media, VIP Pre-sales, Pre-order Campaigns 

29555 Northwestern Hwy., 2nd Fl. 

Southfield, HOME RUN MI MEDIA 48034 GROUP 

248-799-8100 

15562 Chemical Ln. 

E-mail: Huntington southfield@axismusic.com 

Beach, CA 92649 

714-901-0109 Fax 714-901-0102, 800-951-5858 

42114 E-mail: Ford sales@home-run.com 

Rd. 

Canton, Web: www.home-run.com 

MI 48187 

734-742-1400 

Services: Promotional Products 

E-mail: Styles/Specialties: canton@axismusic.com 

USB Flash Drives, Custom 

Logo Apparel 

283 

IFANZ 

Hamilton Row 

Birmingham, 

McCartney Multimedia, 

MI 48009 

Inc. 

248-258-9100 

322 Culver Blvd., Ste. 124 

E-mail: Playa Del birmingham@axismusic.com 

Rey, CA 90293 

E-mail: dischelp@ifanz.com, info@ifanz.com 

GROSSE Web: www.ifanz.com POINTE MUSIC ACADEMY 

19443 Mack Ave. 

Grosse INDIE EXTREME Pointe Park, MI 48230 

313-458-7723 

14090 FM 2920, Ste. G117 

E-mail: Tomball, info@grossepointemusicacademy.com 

TX 77377 

Web: 281-890-5034 www.grossepointemusicacademy.com 

Fax 281-890-5034 

Basic E-mail: Rate: kathyd@indieextreme.com 

call for info 

Web: www.indieextreme.com 

Additional Services: Merchandise location: fulfillment and 

distribution 

5880 N. Canton Center Rd., Ste. 425 

Canton, 

Additional 

MI 

location: 

E-mail: canton@grossepointemusicacademy. 

1507 16th Ave. S. 

com 

Nashville, TN 37212 

734-418-0640 

615-309-1718 Fax 615-309-1718 

INDIEMERCHANDISING LLC 

MINNESOTA 

3135 Chester Ave. 

GIRLS Cleveland, ROCK OH AND 44114-4616 ROLL RETREAT 

5115 800-497-8816 Excelsior ext. Blvd., 8921 #316 

Minneapolis, E-mail: info@indiemerch.com 

MN 55416 

844-743-7625 

Web: www.indiemerch.com, www. 

E-mail: indiemerchandising.com, jenny@girlsrocknrollretreat.com 

www.indiemerchstore. 

Web: com www.girlsrocknrollretreat.com 

Contact: Services: Jenny Tech-based Case, e-commerce Program Director provider, 

merchandise manufacturer, wholesaler and 

MACPHAIL retailer for all CENTER areas of music FOR MUSIC merchandising. 

501 S. 2nd St. 

Minneapolis, 

JAK PRINTS 

MN 55401 

Jakprints, Inc 

612-321-0100 Fax 612-321-9740 

3133 Chester Ave. 

E-mail: 

Cleveland, 

santucci.marian@macphail.org 

OH 44114 

Web: 877-246-3132, www.macphail.org 216-622-6360 


Web: www.jakprints.com/contact 

Services: Apple Valley offset printing, screen printing, sticker 

printing, 14750 Cedar embroidery, Ave., S. more. 

Apple Valley, MN 55124 

KILL THE 8 

Canada Chanhassen 

416-531-6647 

470 W. 78th St. 

E-mail: Chanhassen, sales@killthe8.com 

MN 

Web: www.killthe8.com, www.myspace.com/ 

killthe8 Birch Lake Elementary School 

1616 Birch Lake Ave. 

KLUCH 

White Bear 

CLOTHING 

Lake, MN 

CO. 

55110 

215 S.E. 8th Ave. 

Boynton 

THE PODIUM 

Beach, FL 33435 

561-734-9665 

4151 Minnehaha Ave. 

Web: www.kluch.com 

Minneapolis, MN 55406 

KUNG 

877-487-6336, 

FU NATION 

612-767-2800 

MUSIC MERCHANDISE 

731 

E-mail: 

W. Hargett 

sales@thepodium.com 

St. 

Raleigh, Web: www.guitarrodeo.com 

NC 27603 

877-826-0518, Basic Rate: call 919-834-0230 for info Fax 919-834-2090 

Web: www.kungfunation.com 

NEVADA 

LITTERBOX MUSIC SERVICES 

Web: ROBERT www.litterboxmusic.com 

ANTHONY 

Services: Iron Mountain artist Ranch, management, NV band merch 

management 702-236-3212and more 

E-mail: guitar1789@aol.com 

MAPLE Web: www.robertanthonymusic.com 

MUSIC 

2450 Basic Victoria Rate: $30/half-hour, Park Ave., Ste. $50/hour 300 

Toronto, Ontario 

Canada, M2J 5H3 

877-944-5144, NEW JERSEY416-961-1040 

E-mail: ACADEMY justcurious@maplemusic.com 

OF DRUMS & GUITAR 

Web: 589 Fischer www.maplemusic.com 

Blvd. 

Toms River, NJ 08753 

BANDMERCH 

732-270-8680 

3120 E-mail: W. contact@academyofdrums.com 

Empire Ave. 

Burbank, Web: www.academyofdrums.com 

CA 91504 

888-640-9765, Contact: Neil Garthly 818-736-4800 

Web: Basic www.bandmerch.com 

Rate: lessons start at $25/half-hr. 

Clients: all ages 

MERCHNOW 

Styles/Specialties: all styles and all levels 

888-387-3343, +1-518-458-9563 

Web: IAN MACAULAY 

www.merchnow.com 

Haddon Township, NJ 

MERCH 856-357-7046 MONKEY 

259 E-mail: Chopin info@ian-macaulay.com 

Dr. 

Cambridge, Web: www.ian-macaulay.com, ON N3H 1J6, Canada www.myspace. 

+1 com/ianmacaulaymusic 

519-219-9006 

E-mail: orderdesk@merchmonkey.com 

Web: 

TOP TIER 

www.merchmonkey.com 

GUITAR STUDIO 

177 S. Centre St. Ste. A, 2nd Fl. 

NIMBIT 

Merchantville, NJ 08109 

47 

609-346-8015 

Mellen St. 

Framingham, MA 01702 

508-820-8738 

E-mail: nick@toptierguitarstudio.com 

E-mail: 

Web: www.toptierguitarstudio.com 

marketing@nimbit.com 

Web: www.nimbit.com 

NEW MEXICO 

ONE STOP INDIE SHOP 

64 GRANDMA’S Dupont St., MUSIC Ste. #2L& SOUND 

Brooklyn, 9310 Coors NY NW 11222 

866-606-1231 

Albuquerque, NM 87114 

Web: 505-292-0341, www.onestopindieshop.com 

800-444-5252 

E-mail: info@grandmas.com 

PATENT Web: www.grandmas.com 

PENDING INDUSTRIES 

2315 Western Ave., Ste. 307 

Seattle, WA 98121-1636 

206-328-3082 

NEW YORK 

E-mail: GUITAR info@patentpendingindustries.com 

LESSONS NYC-UDI LEVY 

Web: 251 W. www.facebook.com/ 

30th St., 3rd Fl. 

patentpendingindustries 

New York, NY 10001 

718-684-5150 

PICKGUY E-mail: udilevyguitar@gmail.com 

P.O. Web: Box www.guitarlessonsnyc.com 

2724 

Riverview, Contact: Udi MI 48193 Levy 

734-626-9756 

Basic Rate: Call for rates 

E-mail: info@pickguy.com 

Web: GUITAR www.pickguy.com 

LESSONS BROOKLYN-UDI LEVY 

170 Parkside Ave. 

PLATINUM Brooklyn, NY MONARCH 11226 DESIGN 

P.O. 718-684-5150 Box 922182 

E-mail: udilevyguitar@gmail.com 

Sylmar, Web: www.guitarlessonsnyc.com 

CA 91392-2182 

1-888-889-2630 

Contact: Udi Levy 

Web: Basic www.platinummonarchdesign.com 

Rate: Call for rates 

Services: websites, logos, flyers, cd covers, 

postcards, THE COLLECTIVE t-shirts and SCHOOL more OF MUSIC 

541 Ave. of the Americas 

PORT New York, MERCH NY 10011 

984 212-741-0091 Trinity Rd. 

Raleigh, E-mail: info@thecollective.edu 

NC 27607 

919-713-0078 

Web: www.thecollective.edu 

E-mail: Basic Rate: alex@portmerch.com 

call for info 

Web: www.portmerch.com 

Services: MATT SCHLATTER Port Merch is a full service 

merchandise 

Brooklyn, NY 

company providing solutions for 

bands, 

609-923-1048 

artists and record labels. 

E-mail: matt@mattschlatter.com 

SECOND MOTION ENTERTAINMENT 

Web: www.mattschlatter.com 

Raleigh, NC 

E-mail: 

Basic Rate: 

customerservice@ 

$30/half an hour, $50/hour 

secondmotionrecords.com 

Web: 

NEW YORK 

www.secondmotionrecords.com/ 

CITY GUITAR SCHOOL 

artistmgmt Recording and Rehearsal Arts Building 

251 W. 30th St., 11th Fl. 

SMI New PROMO York, NY 10001 

7247 646-485-7244 Hayvenhurst Ave., Ste. A-3 

Van E-mail: Nuys, info@nycguitarschool.com 

CA 91406 

800-401-4488 

Web: www.nycguitarschool.com 

Web: Basic www.smipromo.com 

Rate: call for info 

STICKER YMCA CENTER JUNKIEFOR THE CREATIVE ARTS 

9932 301 W. Prospect Bloomfield Ave., St. #134 

Santee, Rome, NY CA 13440 92071 

619-550-2727 

315-336-3500 

E-mail: Web: www.ymcatrivalley.org/about-us/ 

customerservice@stickerjunkie.com 

Web: contact-us www.stickerjunkie.com 


STRANGLEHOLD Clients: beginner to MERCH expert 

2569 S. Cobb Dr. 

Smyrna, Additional GA locations: 30080 

770-435-9966 

E-mail: 701 Seneca sales@strangleholdmerch.com 

St. 

Web: Oneida, www.strangleholdmerch.com 

NY 13421 

315-363-7788 

SUNSHINE DAYDREAM 

708 25 Oxford S. Rand Road Rd. 

Lake New Hartford, Zurich, IL NY 60047 13413 

847-550-9999 

315-797-4787 

E-mail: store@sunshinedaydream.biz 

Web: www.sunshinedaydream.biz 

NORTH CAROLINA 

THIS MUSIC IS LOFT TOUGH LOVE 

660 929 York N. Church St., Ste. St. 212 

San Greensboro, Francisco, NCCA 94110 

415-323-3640 

336-378-1068 

E-mail: 

Web: www.themusicloft.net 

darius@thisistoughlove.com 

Web: 

Guitar 

www.thisistoughlove.com 

Instructors: Jeff Swanson, 336-337- 

3331; Greg Stentz 336-508-4409; Brad Newell, 

TOUR CITY, INC. 

630 

919-403-5647, 

Elmwood Ave. 

Jon Hallman, 336-681-8685 

Buffalo, NY 14222 

716-893-2900 

WILL RAY 

Fax 716-893-0278 

E-mail: 

Asheville, 

contact@tourcitymerch.com 

NC 

Web: 

828-296-0107 

www.tourcitymerch.com 

E-mail: will@willray.biz 

Web: www.willray.biz 

Basic Rate: CD / $75/hr., VINYL / $100/1.5 DVD DUPLICATION hrs. 

Clients: intermediate to professional 

Styles/Specialties: ALABAMA country, blues, roots 

Notes: 

CAM VIDEO 

Currently 

PRODUCTIONS 

play with the Hellecasters, 

have instructional DVDs and have monthly 

column 

412 Main 

in 

St. 

Guitar Player magazine, can do 

lessons 

Trussville, 

online. 

AL 35173 

205-655-0829 

E-mail: info@camvideoproductions.com 

Web: OHIO www.camvideoproductions.com 

BRECKSVILLE Services: CD and SCHOOL DVD duplication OF MUSIC as well as 

8865 taping Brecksville and authoring Rd. to DVD and CD. 

Brecksville, OH 44141 

440-526-9350 

CINRAM 

Web: 4905 Moores www.brecksvillemusicstudio.com 

Mill Rd. 

Basic Huntsville, Rate: AL call 35811 for info 

256-859-9042 

JAMES E-mail: info@cinram.com 

FLOOD GUITAR LESSONS 

1508 Web: Belle www.cinram.com Ave. 

Lakewood, OH 44107 

Services: 216-224-8578 manufacturing, packaging, 

distribution E-mail: jflood@thesacredarts.org 

Web: www.jamesfloodguitar.com 

DISCOUNT Styles/Specialties: DUPLICATION basic and classical guitar 

240 Basic Oxmoor Rate: Cir., call for Ste. info 102 

Birmingham, AL 35209 

205-942-9460 


Web: www.discountdub.com 

Services: Pepper Pike video duplication, dvd duplication, 

video 30500 conversion, Fairmount film Blvd. transfer at discount 

prices, Pepper highest Pike, OH quality 44124 and fast service 

HOLT 

1519 S. 

AV 

Green Rd. 

401 

South 

28th 

Euclid, 

St. S. 

OH 44121 

Birmingham, AL 35233 

800-322-4658, 205-328-5231 

E-mail: 

MOTTER’S 

info@holtav.com 

MUSIC HOUSE, INC. 

Web: 

5228 Mayfield 

www.holtav.com 

Rd. 

Services: 

Lyndhurst, 

duplication 

OH 44124 

and transfer services 

440-442-7470 Fax 440-461-3631 

NHOUSE E-mail: mottersmusic@hotmail.com 

DIGITAL MEDIA 

1530 Web: Heritage www.mottersmusic.com 

Place Dr. 

Irondale, Basic Rate: AL 35210 $16/half-hr. 

205-226-2222, 205-706-7163 

E-mail: Additional customerservice@nhousedigital.com 

location: 

Web: www.nhousedigital.com 

4242 Boardman Canfield Rd. 

Canfield, OH 44406 

330-533-3600 

ALASKA 

ACTION VIDEO PRODUCTIONS 

SKYLINE 430 W. 7th MUSIC Ave., Ste. 100 

27010 Anchorage, Center AK Ridge 99501 Rd. 

Westlake, 907-277-8115 OH Fax 44145 907-274-5287 

440-871-4140 

E-mail: actvid@alaska.net 

E-mail: Web: www.actvid.com 

skyline@skylinemusic.com 

Web: Services: www.skylinemusic.com 

copy/duplicate just about any audio/ 

Basic video format Rate: call for info 

ARIZONA OREGON 

MANSELLES DISC2DAY MUSIC SHOP 

4808 2113 S.E. 48th Ina St., Ave. Ste. 103 

Milwaukie, Tempe, AZ 85282 OR 97267 

503-659-9817 

602-438-4848, 800-951-3707 

E-mail: robert@disc2day.com 

sales@mansellesmusic.com 

Web: www.disc2day.com 

www.mansellesmusic.com 


Services: CD/DVD duplication and replication 

NEWBERG PROACTION MUSIC MEDIA CENTER 

514 610 E. Bell 1st St. Rd., #2 

Newberg, Phoenix, AZ OR85022 

503-537-2196 

877-593-4261, 602-277-2011 

E-mail: 

Fax 602-277-2021 

newbergmusic@newbergmusiccenter. 

com 

Web: www.proactionmedia.com, www. 

Web: 

ondemand.proactionmedia.com 

www.newbergmusiccenter.com 

Services: Professionally managed or ondemand 

Basic Rate: 

DIY CD, 

call for 

DVD 

info 

and USB low volume 

duplication and high volume replication 

services, PENNSYLVANIA including professional custom print 

for single or multiple disc complete packaging. 

CLASSICAL 

Order online anytime 

GUITAR 

as 

STORE, 

low as 1 

THE 

Complete 

2038 

CD in 

Sansom 

Jewel Case 

St. 

Package on our OnDemand 

Philadelphia, 

site or call for Higher 

PA 19103 

volumes. Quick turns or 

215-567-2972 

complex projects. 

E-mail: info@classicalguitarstore.com 

Web: 

US DIGITAL 

www.classicalguitarstore.com 

MEDIA 

Basic 

1929 W. 

Rate: 

Lone 

call 

Cactus 

for info 

Dr. 

Clients: 

Phoenix, 

all 

AZ 

levels 

85027 

Styles/Specialties: 

623-587-4900, 877-992-3766 

classical, folk, blues, rock 

and jazz playing styles 

E-mail: reseller@usdigitalmedia.com 

Web: www.usdigitalmedia.com 

Services: SOUTH CAROLINA CD/DVD duplication and replication 

JIM HICKEY MUSIC 

377 ARKANSAS Rubin Center Dr. #118 

Fort Mill, SC 29708 

704-620-5418 

CANTRELL VIDEO 

E-mail: 

5919 H St. 

jim@jimhickeymusic.com 

Web: 

Little Rock, 

www.jimhickeymusic.com 

AR 72205 

501-664-2215 

E-mail: info@cantrellvideo.com 

Web: TENNESSEE www.cantrellvideo.com 

COTTON 

Services: 

MUSIC 

CD/DVD authoring, transfer, 

434 

duplication 

Houston St., Ste. 131 

April 2015 musicconnection.com 57 

March 2015 musicconnection.com 69

Directory of Guitar/Bass Instructors & Services 


615-383-8947 Fax 615-383-9932 

E-mail: guitars@cottenmusic.com 

Web: www.cottenmusic.com 


GARY TALLEY 

620 W. End Cir. 

Franklin, TN 37064 

615-370-4760 Fax 615-370-4760 

E-mail: gary@garytalley.com 

Web: www.garytalley.com 


GENE FORD MUSIC 

330 Franklin Rd. 

Brentwood, TN 37027 

615-371-1661 

E-mail: geneford@genefordmusic.com 

Web: www.genefordmusic.com 


GUITAR SCHOOL OF NASHVILLE 

Nashville, TN 

E-mail: janet.mclaughlin3@gmail.com 

Web: www.guitarschoolofnashville.com 


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 


Services: piano, voice, guitar, percussion, 

Rising Stars, Kindermusik, and Musical 

Theatre 

JONATHAN FLETCHER MUSIC 

144 N. Lowry St. 

Smyrna, TN 37167 

615-459-3133 

E-mail: support@jonathanfletchermusic.com 

Web: www.jonathanfletchermusic.com 


KASPER HOME MUSIC STUDIOS 

927 Battlefield Dr. 


615-383-8516 

Web: www.kaspermusic.com 


MARK’S MUSIC GROUP 

805 14th Ave. S. 


618-288-1993 

Web: www.facebook.com/marksmusic 


Clients: all levels / SKYPE lessons 


MIKE HUTCHENS 

6421 Lansing Dr. 


615-356-7467, 615-969-2244 

E-mail: mike.hutchens@comcast.net 

Web: www.guitarlessonswithmikehutchens. 

com 


MOBILE MUSIC ACADEMY LLC 

P.O. Box 140817 


615-301-8589 

E-mail: info@mobilemusicacademy.com 

Web: www.mobilemusicacademy.com 

Contact: Jonathan Gaertner 

Basic Rate: depends on area 

Clients: all ages 

Styles/Specialties: most styles and 

specialties 

NASHVILLE JAZZ WORKSHOP 

1319 Adams St. 


615-242-JAZZ (5299) 

E-mail: info@nashvillejazz.org 

Web: www.nashvillejazz.org 


NASHVILLE SCHOOL OF THE ARTS 

1250 Foster Ave. 


615-291-6600 

E-mail: gregory.stewart@mnps.org 

Web: nsahs@mnps.org 


SHUFF’S MUSIC 

118 3rd Ave. N. 

Franklin, TN 37064 

615-790-6139 

E-mail: sasha@shuffsmusic.com 

Web: www.shuffsmusic.com 


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 


AUSTIN GUITAR SCHOOL 

5501 N. Lamar, Ste. A111 

Austin, TX 78751 

512-442-2880 

E-mail: ags@austinguitarschool.com 

Web: www.austinguitarschool.com 


DALLAS/MUSIC 

3415 Milton 

Dallas, TX 75205 

214-363-4980 

E-mail: notes@dallas-music.net 

Web: www.dallas-music.net 


DALLAS SCHOOL OF MUSIC, INC., THE 

14376 Proton Rd. 


972-380-8050 

E-mail: help@dsminfo.com 

Web: www.dsminfo.com 


FRISCO SCHOOL OF MUSIC 

9255 Preston Rd. 

Frisco, TX 75034 

214-436-4058 

E-mail: music@friscoschoolofmusic.com 

Web: www.friscoschoolofmusic.com 


GIRL GUITAR AUSTIN 

Austin, TX 

512-709-4558 

E-mail: Mandy@girlguitaraustin.com 

Web: www.GirlGuitarAustin.com 

Basic Rate: $150 for 6-week class 

Clients: women 21 and up 

Styles/Specialities: performance-based 

women’s guitar and songwriting classes with 

a glass of wine 

JOE THE GUITARMAN 

Xena Studios Dallas 

2506 Montalba Ave. 

Dallas, TX 75228-2622 

E-mail: joe@joetheguitarman.com 

Web: www.joetheguitarman.com 

Basic Rate: $60/hr. 



LONESTAR SCHOOL OF MUSIC 

4301 W. William Cannon Dr. 


512-712-5187 

E-mail: arbortrails@lonestarschoolofmusic. 

com 

Web: www.lonestarschoolofmusic.com 


MIKE ELLIS MUSIC INSTRUCTIONS 

9450 Skillman St., Ste. 101 


469-855-6865 

E-mail: comments@ellismusiclessons.com 

Web: www.ellismusiclessons.com 

Basic Rate: $25/half-hr., paid monthly 


SOUTH AUSTIN MUSIC 

1402 S. Lamar Blvd. 


512-448-4992 

E-mail: southaustinmusic@gmail.com 

Web: www.southaustinmusic.com 


TEMPO SCHOOL OF MUSIC, LLC 

13505 Westheimer Rd. 


281-293-8880 

Web: www.temposchoolofmusic.com 


TRADITION GUITARS 

109 Blackjack Ln. 

Burleson, TX 76028 

888-361-5838, 817-923-6300 

E-mail: patty@traditionguitars.com 

Web: www.traditionguitars.com 

VIRGINIA 

MURPHY METHOD, THE 

P.O. Box 2498 

Winchester, VA 22604 

800-227-2357 

E-mail: info@murphymethod.com 

Web: www.murphymethod.com 


WASHINGTON 

BELLEVUE SCHOOL OF MUSIC 

2237 140th Ave. N.E. 

Bellevue, WA 98005 

425-401-8486 

Web: www.bellevueschoolofmusic.com 


BOWLING MUSIC STUDIOS 

7217 Chico Way N.W. 

Bremerton, WA 98312 

360-692-7419 

Web: www.bowlingmusicstudios.com 


METER MUSIC SCHOOL 

2110 E. Union St. 

Seattle, WA 98122 

206-792-9039 

E-mail: frontdesk@metermusicschool.com 

Web: www.metermusicschool.com 

Basic Rate: $35/half-hr., group lessons are 

$20/hr. 

MUSIC WORKS NORTHWEST 

1331 118th Ave. S.E., Ste. 400 

Bellevue, WA 98005 

425-644-0988 Fax 425-644-0989 

E-mail: registration@musicworksnw.org 

Web: www.musicworksnw.org 


ROB HAMPTON 

Heartwood Guitar 

206-799-6415 

E-mail: rob@heartwoodguitar.com 

Web: www.heartwoodguitar.com 


SEATTLE DRUM SCHOOL 

12510 15th Ave. N.E. 


206-364-8815 

E-mail: info@seattledrumschool.com 

Web: www.seattledrumschool.com 



1010 S. Bailey 


206-763-9700 

WEST VIRGINIA 

GORBY’S MUSIC, INC. 

214 7th Ave. 

S. Charleston, WV 25303 

304-744-9452, 800-642-3070 

E-mail: info@gorbysmusic.com 

Web: www.gorbysmusic.com 


WISCONSIN 

KIRK TATNALL GUITAR INSTRUCTION 

7611 Harwood Ave., Ste. G 

Wauwatosa, WI 53213 

414-395-KIRK (5475) 

Web: www.kirktatnall.com 

MILWAUKEE GUITAR LESSONS 

4868 S. 69th St. 

Greenfield, WI 53220 

414-731-6393 

Web: www.milwaukeeguitarlessons.com 

BASS INSTRUCTORS 

& SERVICES 

NATIONWIDE 

GUITAR CENTER 

*See guitar listing for info 

ARIZONA 

ARIZONA MUSIC ACADEMY 

1700 E. Elliot Rd., Ste. 11 


480-705-0875 

Web: www.arizonamusicacademy.com 

TONAL CENTER GUITAR INSTRUCTION 

1051 W. University Dr. 


480-894-3346 

E-mail: kurt@tonalcenter.com 

Web: www.tonalcenter.com 

Basic Rate: $20-25 per half hour 

CALIFORNIA 

AARON WOLFSON 


ADAM’S MUSIC 


AGOURA MUSIC 


ALHAMBRA SCHOOL OF MUSIC 


ALTA LOMA MUSIC 


AMUSE 


ANAHEIM HILLS GUITAR AND BASS 

LESSONS 


ARCADIA MUSIC CENTER 


BARKER’S MUSIC 


BAXTER/NORTHUP MUSIC 


BOULEVARD MUSIC 


BUNNY BRUNEL 

24310 Moulton Pkwy. #0-178 

Laguna Woods, CA 92637 

800-300-0950 

Carvin-Hollywood, CA 

Carvin-San Diego, CA 

E-mail: info@bunnybrunel.com 

Web: www.bunnybrunel.com 

Basic Rate: $85/hr. 



Notes: fingering, modes, harmony, improv., 

bass lines, slap. Also if you have a computer 

and a broadband Internet service and a 

camera, lessons are available online. See 

website for details and check out Bunny’s bass 

at carvin.com 

CALIFORNIA VINTAGE GUITAR AND AMP 


CANOGA SCHOOL OF MUSIC 


CASSELL’S MUSIC 


CHARLES MUSIC CENTER 


COAST MUSIC 


CORONA MUSIC CENTER 

1191-B Magnolia Ave. 

Corona, CA 92879 

951-898-2630 

E-mail: info@lahabramusic.com 

Web: www.lahabramusic.com 




1885 W. La Habra Blvd. 

La Habra, CA 

562-694-4891 

CRAIG BECK 


CULVER CITY MUSIC CENTER 


DANA GONZALES 


DIETZ BROS. MUSIC 


FAUNT SCHOOL OF CREATIVE MUSIC 


FRANCESCO DICOSMO 

Grammy-Winning Bassist-Singer-Composer- 

Producer 

AudioVision Digital Media and Music 

Production 

310-908-9006, SKYPE: DiCosmoFone 

E-mail: dicosmobass@yahoo.com 

Web: www.FrancescoDicosmo.com 

Basic Rate: Call for info 

Clients: All levels 

Styles/Specialties: Experienced lead singer 

and bassist in countless professional bands 

the styles of rock, funk, blues and R&B, bass 

and vocal technique, breathing and placement 

of voice ranges, intervalic and rhythmic 

concepts, chart reading, music theory, ear 

training, interpretation, improvisation, etc. 

Qualifications: Musicians Institute Vocational 

Honors Graduate and MI Human Relations 

Award 1994-’95. Grammy-Winning Bassist 

for Evanescence’s Multiplatinum Fallen 

Album. Have played with Robert Plant, Chris 

Poland of Megadeth, Ronnie Montrose, Alex 

Leigertwood of Santana, Randy Meisner 

of the Eagles, Jimmy Crespo of Aerosmith, 

Dweezil Zappa, etc. 

58 

April 2015 

musicconnection.com


FULLERTON MUSIC CENTER 


GILMORE SCHOOL OF MUSIC 


GO FAR GUITAR SCHOOL 


GRAYSON’S TUNE TOWN 


GUITAR, BASS & AMPLIFIER REPAIR AND 

TECHNICAL SERVICES 


INSTRUMENTAL MUSIC 


JIM’S MUSIC CENTER 


JOHN FLITCRAFT 

W. Los Angeles, CA 

310-985-4571 

E-mail: jflitcraft@earthlink.net 

Web: www.johnflitcraft.com 




JOHN MENZANO 

25809 Parada Dr. 

Valencia, CA 91355 

818-489-0464 

E-mail: menzatwork@sbcglobal.net 

Web: ww.johnmenzano.com 




*Notes: Has toured/recorded with Sheena 

Easton, Dave Koz, Three Dog Night, Brenda 

Russell, presently with Donny Osmond, 

Frankie Valli. 

JOHNNY THOMPSON MUSIC 


JOIN THE BAND MUSIC LESSONS STUDIO 


ROCKENBACK MUSIC GROUP 


SANTA MONICA MUSIC CENTER 


SINGER MUSIC 


SOLUTIONS 


SOUTHERN CALIFORNIA CONSERVATORY 

OF MUSIC 


STYLES MUSIC 


THE TEC SHOP 


TONE BOX, INC. 


TRUETONE 


VALDEZ GUITAR SHOP 


VENTURA MUSIC 


VPR STUDIOS 


WOODLOWE MUSIC CENTER 


WORLD MUSIC 


COLORADO 

BROADWAY MUSIC SCHOOL 


DENVER MUSIC INSTITUTE 


MARYLAND 

MARYLAND BASS LESSONS 

410-299-4744, SKYPE 

E-mail: dave@davedemarco.com 

Web: www.davedemarco.com 

Contact: Dave DeMarco 

RUSS RODGERS 

70 Upper Rock Cir. #405 

Rockville, MD 20850 

404-386-0983 

E-mail: russrodgers@gmail.com 

Web: www.russrodgersbassguitar.com 

MASSACHUSETTS 

OSCAR STAGNARO 

Boston, MA 

E-mail: ostagnaro@gmail.com 

Web: www.oscarstagnarobass.com 

MICHIGAN 

AXIS MUSIC ACADEMY 


MINNESOTA 

GIRLS ROCK AND ROLL RETREAT 


MACPHAIL CENTER FOR MUSIC 


NEVADA 

ROBERT ANTHONY 


NEW JERSEY 

ACADEMY OF DRUMS & GUITAR 


NEW MEXICO 

GRANDMA’S MUSIC & SOUND 


TENNESSEE 

GENE FORD MUSIC 


GUITAR SCHOOL OF NASHVILLE 


JONATHAN FLETCHER MUSIC 


MOBILE MUSIC ACADEMY LLC 


NASHVILLE SCHOOL OF THE ARTS 


SHUFF’S MUSIC 


TEXAS 

AUSTIN GUITAR SCHOOL 


DALLAS SCHOOL OF MUSIC, INC., THE 


LARISSA MULLIGAN MUSIC STUDIO 

9605 Lacey Ln. 

Keller, TX 76248 

817-337-0604 

Web: www.facebook.com/larissa.mulligan 


LONESTAR SCHOOL OF MUSIC 


MIKE ELLIS MUSIC INSTRUCTIONS 


MUSIC CONSERVATORY OF TEXAS 


TEMPO SCHOOL OF MUSIC, LLC 

13505 Westheimer Rd. 


281-293-8880 

Web: www.temposchoolofmusic.com 


KASHA AMPLIFIERS, INC. 


KAYE’S MUSIC SCENE 


LAGUNA HILLS MUSIC 


LA HABRA MUSIC 


LA MIRADA MUSIC 


LARRY LARSON MUSIC STORE 


LON COHEN STUDIO RENTALS 


LONG BEACH SCHOOL OF MUSIC 


MARINI MUSIC 


McCABE’S GUITAR SHOP 


MOREY’S MUSIC STORE, INC. 


MO’S MUSIC MALL 

*See guitar listing for info. 

MUSICIAN’S DEPOT 


MUSICIANS INSTITUTE 


MUSIC MAKER SCHOOL OF MUSIC 


MUSIC STORE, THE 


MUSIC WORKS 


NORMAN’S RARE GUITARS 


PEACELAND GUITAR LESSONS 


PETE’S MUSIC AND GUITAR SHOP 


FLESHER-HINTON MUSIC COMPANY 


OLDE TOWN PICKIN’ PARLOR 


FLORIDA 

MIAMI MUSIC WORKS, INC. 


RON KAYE’S MUSIC INSTRUCTION 


SAM ASH MUSIC CORPORATION 


GEORGIA 

HOWIE BENTLEY 


PRO-MAESTRO MUSIC 


HAWAII 

CHUCK JAMES MUSIC STUDIO 


ILLINOIS 

CENTER SCHOOL OF MUSIC 


CHICAGO GUITAR LESSONS 


MUSICAL EXPRESSIONS OF ILLINOIS, LLC 


LOUISIANA 

ANDY HYMEL SCHOOL OF MUSIC 


COVINGTON SCHOOL OF MUSIC 


MANDEVILLE SCHOOL OF MUSIC 


METAIRIE SCHOOL OF MUSIC 


RIVER RIDGE SCHOOL OF MUSIC 


MAINE 

THE GUITAR STUDIO 


NEW YORK 

COLLECTIVE SCHOOL OF MUSIC, THE 


KEVIN DELANEY 

251 W. 30th St., 9th Fl. 


212-340-1184 

E-mail: lessons@shredlikeametalgod.com 

Web: www.shredlikeametalgod.com, 

www.kevindelaneymusic.com 

Basic Rate: Call for info 

Styles: heavy metal, hard rock, shred 

RITT HENN 

Catherdral Station 

P.O. Box 721 


E-mail: ritt@ritthenn.com 

Web: www.ritthenn.com 

Clients: all levels, acoustic and electric bass 


Notes: played with Tom Jones, Chuck Berry 

and Buddy Rich, though unfortunately not at 

the same time. 

NORTH CAROLINA 

MUSIC LOFT 


STREETWISE MUSIC 


OHIO 

BRECKSVILLE SCHOOL OF MUSIC 


OREGON 

MANSELLES MUSIC SHOP 


NEWBERG MUSIC CENTER 

514 E. 1st. St. 

Newberg, OR 

503-537-2196 

Web: www.newbergmusiccenter.com 


STARFISH STUDIOS 


SOUTH CAROLINA 

JIM HICKEY MUSIC 


TRADITION GUITARS 


VIRGINIA 

MURPHY METHOD, THE 


WASHINGTON 

BELLEVUE SCHOOL OF MUSIC 


BRADY MILLARD-KISH 

Heartwood Guitar 

Seattle, WA 

206-799-6415 

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 


VISION MUSIC LIVE 

Mercer Island, WA 98040 

206-743-2280 

E-mail: info@visionmusiclive.com 

Web: www.visionmusiclive.com 


SEATTLE DRUM SCHOOL 


WEST VIRGINIA 

GORBY’S MUSIC, INC. 


WISCONSIN 

SONG CYCLES MUSIC STUDIO 


For hundreds more contacts from 

current directories (A&R, managers, 

agents, everything indie, promotion, 

publicity, vocal coaches, college radio, 

recording studios, rehearsal studios, 

mastering studios, publishers, film/TV and 

more), visit our website: musicconnection. 

com/industry-contacts. 


For Advertising Info Call 818-995-0101 MARKETPLACE 

60 April 2015 

musicconnection.com

For Advertising Info Call 818-995-0101 MARKETPLACE 

April 2015 


hoosing to be a music creator comes with 

certain, shall we say, pitfalls. While it is 

Ctough enough to put in years of hard work, 

it will be that much harder for you to achieve your 

goals when you have a mate who is watching 

the clock, who is impatient with your precarious 

financial situation and who simply does not 

share your passion for a music career. No one 

knows this better than Mixerman, who has 

weathered plenty of hardscrabble years in the 

music business. And in the following article–– 

which is excerpted from 

his latest book, Zen and 

the Art of Recording––he 

dishes some absolutely 

essential insights and 

advice to us all... 

To be perfectly 

honest, it is far easier 

to make it in this business 

when you have a 

life partner able to bring 

in a steady income. 

You should choose your 

partner based on love and 

compatibility, not a W2, 

and I wouldn’t suggest 

otherwise. But if you’re 

purposely putting off marrying 

that great gal or guy 

because you first want to 

be in a financial position 

to do so, you’re ignoring 

the fact that you’ll likely 

find yourself in similarly 

hard times in the future. 

That said, partnership 

with someone who 

is unable to deal with 

the difficult times in this 

business will result in 

one of two possibilities. 

Either you’ll be out of the 

business completely, working a job you hate in 

order to keep your marriage together, or you’ll 

be divorced. Possibly both. Life balance issues 

will put a constant strain on your relationship, 

even with the most understanding of mates. 

This is not the kind of job that allows for balance 

when it comes to your personal life. Statistically 

speaking, it’s a business that’s fraught 

with waves of feast or famine, and you will 

often have more work than you can handle one 

month, followed by an empty studio the next— 

the very definition of feast or famine. There 

very well could be times in your life when work 

is steady and dependable. I have experienced 

those times. Unfortunately, periods of feast can 

be just as detrimental to the well-being of a 

relationship as spans of famine. 

When you’re working, your absence will 

breed resentment. When you’re not working, 

your lack of income will breed resentment. Life 

balance in this business is not achieved in the 

short run, but rather over the long haul, and I’m 

not sure we can reasonably call that balance, 

since you will somehow manage to foment 

resentment regardless of whether you’re working 

or not. 

Your Personal Relationships: 

Better Choose the Right Partner! 

Further problematic is the stress of operating 

a business with a robust overhead. Disagreements 

over money can be traumatic to a relationship. 

Your mate could very well want to save 

money in order to soften the blow of the tough 

times. Good advice if there ever was any. Unfortunately, 

in order to build a business you must 

invest in it. Your mate will not likely understand 

a decision to sink a large chunk of money on a 

microphone when you’re suddenly flush again, 

after a month of mac and cheese dinners. 

“You must have a mate that is fully supportive 

and understanding of what’s at stake.” 

Mates who have never built a business often 

can’t truly comprehend what’s needed to keep 

it growing, and your expenditures could be 

viewed as nothing more than personal whims, 

rather than necessary investments that will 

allow you to compete. That said, cash flow problems 

are certainly not unique to this business. 

It’s your dedication and discipline that could 

prove the real downfall to your relationship. 

Here’s the painful reality. If you’re the kind 

of person who is so passionate about making 

music that you refuse to do anything else, your 

career becomes your first loyalty, which by 

definition would place your mate as second. A 

close second, but second nonetheless. This is 

often problematic to a good relationship. 

When you’re driven to create, you’re coming 

from a different mindset from most, and conventional 

relationships don’t typically survive the 

rather unconventional lifestyle of a recording 

professional. Even a mate who admires your 

drive and creations will feel the resentment of 

playing second fiddle, and money doesn’t tend 

to solve this problem. On those occasions when 

money comes to you in great abundance, you 

could find yourself pressured by your mate to 

– MIXERMAN 

take some personal time off. This can be counter 

to your business needs. 

Time off is the kiss of death in this industry. 

I know—I took an entire year off in the ‘90s to 

spend time with my newborn son, and I virtually 

killed my career in the process. Not that I’d do 

anything differently in that regard, but it did take 

some time to rebuild. 

Far be it for me to give anyone relationship 

advice. Believe me, as someone who views my 

purpose in life as a creator of art, I’ve failed with 

marked predictability in my relationships. 

But then that’s the 

point. I’m not suggesting you 

can’t have a loving and fruitful 

relationship that lasts a lifetime. 

That depends completely 

on the personalities of both 

you and your partner. What I’m 

saying is that you must have 

a mate that is fully supportive 

and understanding of what’s 

at stake, and I’m not sure that 

explaining it is sufficient. 

Let me put it this way: If you 

can figure out how to maintain 

a healthy personal and love 

life as you operate in this business, 

you should write a book 

about it, as I have yet to figure 

it out myself. 

Whether self-inflicted, or 

out of pure happenstance, the 

difficult times in this business 

will come. If you rest on your 

laurels, as if your run of success 

will never end, you could 

be in a world of hurt, both 

financially and personally. 

It’s tough to enjoy your time 

off when you’re dealing with 

a mate pissed off that you’re 

broke, as you personally deal 

with feelings of failure and 

inadequacy. Negative thoughts are destructive 

in nature, and often include concerns of 

permanence. I have 

wondered countless 

times in my career 

whether I’ve made 

my last record. I 

don’t care who you 

are, when you’re not 

working, your confidence 

will suffer. 

Therefore, vigilance 

is a necessity, and 

you must at all 

times adjust your 

position as it relates 

to the business. 

ERIC SARAFIN aka Mixerman is a Los Angeles-based 

mixer and producer whose credits include: the Pharcyde, 

Ben Harper, Barenaked Ladies, Pete Murray and Foreigner. 

Sarafin is also an author, well known for his popular 

web-postings-turned-book, titled The Daily Adventures of 

Mixerman, and his ongoing Zen series of books, including 

Zen and the Art of Mixing, Producing, and Recording. His 

most recent book, Zen and the Art of Recording, is available 

at amazon.com/Mixerman/e/B001QV42EW 

62 April 2015 

musicconnection.com

February 2015 


17

CONNECT LIKE A PRO 

“The MixingLink with 

insert control is the 

cleanest I’ve ever 

heard. I love it!” 

-Tony Visconti 

 

“The perfect box to do 

vocal fx live, a great 

idea that sounds and 

works great!” 

-Vance Powell 

 

® 

Stompbox 

“A huge sounding mic 

pre in a small pedal. 

MixingLink puts 

bass in its place.” 

-John Agnello 

 

“More than a studio Swiss 

Army knife... It can sit in a 

mix in a transparent way 

yet still impart real tone.” 

-Joel Hamilton

mcapril2015

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