innovation and tone

On the go with 

innovation and tone.

CONTENTS 

Paramore 

In this exclusive interview, Hayley Williams 

discusses every aspect of the new album, 

PARAMORE––choosing the right producer, 

expanding her songwriting chops and the 

major adjustment of creating new music 

without two of the band’s original members. 

By Andy Mesecher 

 

Artist Profile 

50 

Photo by: Jody Domingue / All Others: Pamela Littkey 

Guitar&Bass 

Jam 2013 

MC speaks with five acclaimed musicians, 

whose revealing comments deliver 

plenty of useful insights and advice. 

MUSIC 

CONECTION 

SXSW 

@ 

60 

By Oscar Jordan 

36 

42 

Directory of Guitar/Bass 

Instructors & Services 

If you’re a guitarist or bassist in need of a qualified coach or teacher, you’ll 

find plenty to choose from in MC’s extensive list. And connecting with repair 

specialists is a snap, too, using this contact list, fully updated for 2013. 

Compiled By Denise Coso 

46 

PHOTOS: JODY DOMINGUE 

The superstar rapper discusses 

how he’s managed to maintain 

his street cred. 

By Andy Kaufmann 

Departments 

Close Up 

Assignments 

New Toys 

Book Store 

Up Close 

Studio Mix 

Business Affairs 

Signing Stories 

Song Biz 

Film/TV/Theater 

Mixed Notes 

Reviews 

52. CD Reviews 

54. New Music Critiques 

56. Live Reviews 

Be sure to follow Music 

Connection on Facebook and 

Twitter. Check out our 

Social Space to connect with 

fellow music-makers. 

Producer Crosstalk: Ryan Hadlock . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 

Exec Profile: Adam Rabinovitz, Rdio . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann 

Songwriter Profile: Ali Tamposi . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 

Career Connection: MondoTunes . . . . . . . . . . . . . . . . . . . . . . . . . . . By Brett Bush 

Tip Jar: Selling Your Royalties? Be Careful! . . . . . . . . . . . . . . . . . . . . By Brian Tarquin 

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 2013 www.musicconnection.com

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The ASCAP “I Create Music” EXPO brings the most successful 

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networking and inspiration. 

 

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MISS OUT! 

Ne-Yo & Lionel Richie 

In Conversation 

Steven Tyler 

Keynote Interview 

Big Sean & Diplo 

Akon In Conversation 

Brett James Steve Lillywhite Jill Scott 

RJD2 & The Crystal 

 

In Conversation 

Antonina Armato 

Brendan Benson 

Aloe Blacc 

Congresswoman Marsha Blackburn 

Boi 1da 

Mike Brinkley 

Michael Brook 

Darrell Brown 

Don Cannon 

Congresswoman Judy Chu 

Mike Daly 

Adam Epstein 

James Fauntleroy 

Roger Friedman 

Andrew Gould 

Tom Higgenson (Plain White T’s) 

Mike King 

Brandon Kitchen 

 

Holly Knight 

Savan Kotecha 

Ledisi 

James S. Levine 

Liz Leahy 

J.R. Lindsey 

Nate Lowery 

David Margolis 

Sara Matarazzo 

Matthew J. Middleton, Esq. 

Bob Moczydlowsky 

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No I.D. 

Tab Nkhereanye 

Dan “ROBOPOP” Omelio 

Eric Priest 

Priscilla Renae 

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REGISTER NOW at www.ascap.com/expo 

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Emily White 

Alex White 

Paul Williams 

...and more to come! 

facebook.com/ascapexpo @ascapexpo #ASCAPEXPO OPEN TO ALL MUSIC CREATORS REGARDLESS OF AFFILIATION 

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SECTION

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DEEDEE 

O’MALLEY 

e are a four year college that takes 

sound seriously! Learn Audio Recording 

for Studio, Live Performances, Movies & TV 

Five Towns College 

Open House Saturday, April 13 at 1 PM 

631.656.2110 305 N. Service Road Dix Hills, NY 11746 www.ftc.edu 

 

 

 

By Jonathan Widran 

stimating that she has helped over 3,000 songwriters take their skills 

Eto the next level, multi-award-winning songwriter Deedee O’Malley 

brings a dynamic array of accolades and experiences to her multi-faceted 

work as a first-call songwriting coach and consultant. 

With her studio based out of North Hollywood, CA—where she works 

one on one—O’Malley also operates via Skype and at three-day boot 

camps and seminars, leaving her songwriting “footprint” everywhere from 

Nashville, TN to Clearwater, FL and the island of Aruba. 

The three-time winner of the John Lennon Songwriting Contest and 

winner of the Los Angeles Music Awards’ Singer-Songwriter of the Year 

is a seasoned performer who has opened shows around the US for Glen 

Campbell, Chris Cagle and Stephen Bishop. In April, she will be opening 

for Santana at an awards ceremony at the Los Angeles Museum of Natural 

History, sponsored by Relativity Media. O’Malley has also shared the 

stage with country greats Willie Nelson, Kenny Rogers and LeAnn Rimes. 

In addition, this songwriter has released four award-winning CDs and 

recently had 21 actors singing 20 of her songs in her third musical which 

opened at The Matrix Theatre in Hollywood 6 months ago. She is one of 

the theme songwriters for Fox’s Live Life and Win and has had several 

songs in film and television. 

In 2006, O’Malley published 10 Easy Steps to Writing a Song, a 

popular interactive e-book that doesn’t simply take the writer step by step 

through the journey of creating a song—it includes assignments for the 

user to complete three full songs by the closing chapter. 

Those who are unable to interact with O’Malley in the more personal 

settings can benefit from her wisdom with the downloadable online 10 

Easy Steps to Writing a Song video, which shows the first hour of one 

of her renowned songwriting boot camps where she lays down the 

fundamentals. The home seminar package includes the 10 Easy Steps 

interactive e-book. Watching the video, students will learn: what makes 

a hit song; how to cure writer’s block forever; how to write intelligent and 

clever lyrics; a simple method to write unforgettable melodies; all about 

song structure; how to sell your songs; and much more via http://song 

writingbootcamp.com. 

When recording artists are putting together original songs for their 

debut album, there are many benefits they can receive from working with 

a seasoned writer—including emerging from a session with a polished 

song that is ready to pitch (it’s a 50/50 split if it ends up being a co-write). 

O’Malley recently worked with an X-Factor finalist who came to her with 

a half written chorus. She helped the singer write a song, which was 

later produced by a top producer who had worked with Patti Labelle and 

Aretha Franklin. O’Malley also worked with a 13-year-old female singer 

via Skype and emerged with a song that has elicited the interest of L.A. 

Reid. 

“When you write with a seasoned songwriter,” says O’Malley, “you’re 

working with someone who knows exactly the steps to get the song from 

point A to point B, someone who can help you organize your thoughts 

and knows exactly how to get your message or idea across with very little 

effort. Even if the client can’t write a great song right away, by seeing how 

I go about the process, they learn by observation. 

“One of the keys is deciding who is singing the song, and who is that 

person singing to,” O’Malley adds. “It starts with that conversation and 

leads to other necessary decisions. My first album was called ‘Simple’ 

and that’s my motto. If a song isn’t simple, it’s not right. It’s pretty certain 

that if an artists comes to my studio to work with me, they will leave with 

a song. If you’re already an incredible writer, I can help you become even 

better. If you’re great, you’re going to be extraordinary. If you’ve never 

written a song before, you’re going to know how. I know it’s a great song if 

I hear it and can’t stop singing it and want to share it with everyone I love. 

It’s one that inspires you to want to memorize every single word.” 

Contact Deedee O’Malley, 888-269-8896 


Nicole Wyskoarko 

Sr. VP, Business & Legal Affairs 

Island Def Jam Music Group 

Island Def Jam Music Group (IDJMG) 

has promoted Nicole Wyskoarko to Senior 

Vice President, Business & Legal Affairs. 

Wyskoarko will now oversee these duties 

for the Island Def Jam artist roster, including 

negotiating and structuring recording 

agreements, label deals and joint ventures, 

manufacturing and distribution agreements, 

as well as agreements concerning new media. Following the completion 

of her undergraduate degree at USC, she started an internship in 2002 

at IDJMG while finishing her legal studies at Brooklyn Law School. Upon 

graduation, she accepted an entry-level attorney position at the IDJMG 

B&LA Department, ascending to the post of Vice President in just six 

years. Contact renata.muniz@umusic.com. 

Allison Meiresonne 

President, Brand Partnerships 

Man Made Music 

Man Made Music has announced the 

promotion of Allison Meiresonne to the 

position of President, Brand Partnerships. 

Meiresonne has been a vital part of the 

Man Made Music team for the past five 

years, quickly advancing to VP of Business 

Development and Partnerships. In this role, 

Meiresonne has played an integral role in 

developing and securing successful partnerships and opportunities with 

new clients. Some of those successes include John Legend, History 

Channel’s King; executive production for will.i.am, Entertainment Tonight 

theme; as well as Man Made’s current Sonic-Agency-of-Record status 

with global telecom, AT&T. For further information on this appointment, 

contact elyse@workmanentertainment.com. 

Paul Stewart 

Director of Talent for City Nat’l Grove of Anaheim 

Nederlander Concerts 

Alex Hodges, CEO of Nederlander 

Concerts, the preeminent operator 

and programmer of several venues in 

California, announced that Mike Goldsmith 

has been tapped as Director of 

Talent for City National Grove of Anaheim, 

effective immediately. Goldsmith will 

book and promote live entertainment for 

the venue, which is exclusively managed, operated and booked by 

Nederlander Concerts. He will also book talent for Nederlander’s roster 

of award-winning venues and third party venues throughout the Western 

United States. Goldsmith worked for Concerts West/AEG Live as Tour 

Director where he booked tours across North America. For more info, 

contact Vanessa Kromer at vkromer@nederlander.com. 

Mark Mayfield 

Cinema Marketing Manager 

QSC 

Mark Mayfield has joined QSC Audio 

Products as Cinema Marketing Manager. 

In his new role, Mayfield will be responsible 

for developing and executing marketing 

programs as well as providing sales and 

technical support for the acclaimed QSC 

Cinema line of products. Mayfield has 

worked as a recording/live sound engineer 

and has extensive experience in cinema product marketing for firms 

including Bose Corporation, Harman International and Eastern Acoustics 

Works. Prior to joining QSC, Mayfield held several editorial positions, 

launching major industry trade publications, and has authored dozens of 

articles and reports on cinema sound and AV technology and their various 

applications. Contact margaret@msmediainc.com. 

Dennis Reese 

Head of Promotion 

Capitol Music Group 

Dennis Reese has been upped to Head of 

Promotion for the Capitol Music Group. 

In his new position, Reese will oversee 

all promotion efforts for Capitol and 

Virgin, as well as providing support for the 

promotion efforts of Blue Note Harvest and 

Astralwerks. Reese has relocated to the 

West Coast from New York, and will now be 

located in Hollywood at the iconic Capitol Tower. Said Reese of his new 

position, “Success starts at the top. With Lucian Grange’s commitment 

and Steve Barnett’s vision, the Capitol Music Group is on its way to 

being the best in the business, and I can’t thank them enough for this 

opportunity to play a part in the rejuvenation of one of the most historic 

music labels ever.” See http://bit.ly/WEHE97. 

Max Noach 

Reg. Sales Mngr., Latin America 

Solid State Logic 

Solid State Logic has welcomed 

back Max Noach to the company. 

In his new role as Regional Sales 

Manager for Latin America, Noach 

will oversee all day-to-day sales and 

support activities in Central and South 

America. Noach’s previous sales and 

engineering experiences, combined with 

his understanding of the region and ability to speak five languages 

(English, French, Dutch, Portuguese and Spanish), make him the 

perfect candidate for the position. Since relocating to Brazil, Noach 

has provided freelance sales and consultancy services to Brazilbased 

companies in the recording, broadcast and post-production 

industries. Contact vanessab@dpagan.com. 

Clint Weiler 

Label Acquisitions 

MVD Entertainment Group 

MVD Entertainment Group, a leader in 

independent distribution, has appointed 

Clint Weiler to the position of Label 

Acquisitions. Weiler, a 13-year veteran 

of MVD, will also continue serving as 

Director of Publicity and Marketing. In his 

Label Acquisitions role, Weiler will seek 

to acquire new labels and vendors for 

distribution of their CDs, DVDs, vinyl and digital delivery. MVD currently 

handles distribution for hundreds of labels and vendors worldwide and 

is able to facilitate international partnerships. Weiler holds a Bachelor’s 

in Journalism and Public Relations from Kutztown University of 

Pennsylvania. Contact clint@mvdb2b.com. 

Tim Dorwart 

CEO 

Community Pro. Loudspeakers 

Community Professional Loudspeakers 

has announced the appointment of 

Timothy Dorwart as CEO. Dorwart brings 

over 30 years of sales, manufacturing 

and management experience in the pro 

audio and music industries. In his new 

role, Dorwart is tasked with overseeing 

the company’s overall business and 

sales strategies, and leading Community into a new era of exceptional 

growth. Dorwart’s previous roles have included director and VP 

positions with Bose Corporation and DMX Music. Since 2007, he led 

the Stanton Group through a successful turnaround as their CEO. 

Contact gpaoli@communitypro.com for full details. 

April 2013 www.musicconnection.com 9

—BARRY RUDOLPH barry@barryrudolph.com 

JH AUDIO FREQPHASE JH16PRO AND JH13 IN-EAR MONITORS 

Jh Audio’s Freqphase is a new technology to take care of a very important technical detail 

about accurate and clear stereo sound reproduction when using multiple drivers, as in loudspeakers, 

or in-ear monitors. It’s phase coherency—good stereo sound depends on the simple fact that 

all frequencies arrive at our eardrums at the same time and in phase. 

JH Audio guarantees all frequencies to be within .01 of a millisecond (or 10 millionths of a 

second) of each other. This new technology has been first implemented into JH Audio’s JH- 

16Pro (previously reviewed in these pages) and the JH13Pro in-ear monitors. 

Freqphase uses sculpted waveguides to channel and combine the 

sound from the multi-drivers to produce a phase-coherent response— 

especially important for sounds that are panned and mixed between 10 

and 2 o’clock—the midway panned positions between center and the left 

or right sides in the stereo image. 

For more information, visit http://jhaudio.com. 

D’ADDARIO XL NICKEL WOUND BALANCED TENSION 

MARTIN GUITAR’S NEW AUTHENTICS 

Martin’s new D-18 Authentic 1939 started with a CAT scan of the original 1939 

D-18 in Martin Guitar’s museum. After all the internal structures and shapes 

including the 1939 bracing pattern are dimensionally realized, the guitar is built 

in the same fashion as the original using hide glue construction techniques and 

historically accurate detailing. 

The D-18 Authentic 1939 features mahogany back and sides, a solid Adirondack 

spruce top and period-correct “18” appointments. The D-18 Authentic is 

then finished in a polished gloss with aging toner on the top and body. 

Other details: the new D-18 Authentic has D-18 mahogany blocks/dovetail 

neck joint, standard X scalloped top bracing made from 5/16-inches solid spruce, 

mahogany back and sides, Madagascar rosewood (D-28 pattern) purfling 

on the back, and a mahogany neck with an Authentic 1939 barrel & 

heel. The fingerboard is solid black ebony and the scale length is 

25.4-inches with 20 frets total (14 in the clear). Both the nut and 

saddle are made from fossilized ivory and the tuning machines 

are Waverly Nickel 4060s with butterbean knobs. 

The D-18 Authentic 1939 is $6,749 retail and comes with a 545V 

Harptone case. Left-handed models are no additional charge. 

Check out http://martinguitar.com/series/item/3270.html. 

D’Addario’s new XL nickel wound string sets are made to have comparable tension from stringto-string. 

Players not ready for this might be surprised by how much easier it is to play either 

guitar or bass with the improved control. You’ll find playing a more balanced effort—either while 

fretting, bending, strumming and picking on guitar, or plucking, 

slapping and bending on bass. 

There are three size sets for electric guitar and three for bass 

guitar that use mathematically optimized string gauge combinations. 

Each balanced tension set was extensively tested with 

players and experts in order to ensure not only that they were 

balanced, yet also retained all of the inherent properties and 

quality expected of a D’Addario XL nickel wound set. 

Balanced Tension string sets for electric guitar are (listed 

lightest to heaviest gauge): EXL120BT (9-40 Gauge), EXL110BT 

(10-46 Gauge), and EXL115BT (11-50 Gauge), and three sets for 

electric bass including the EXL220BT (40-95 Gauge), EXL170BT 

(45-107 Gauge), and EXL160BT (50-120 Gauge). Retail price is 

$9.90 for any of the guitar sets, and the bass sets will retail for 

$33.10. See http://daddario.com. 

STANTON SCS.4DJ COMPLETE DIGITAL DJ SYSTEM 

Stanton’s new version 4.0 of the SC-IX’s operating system makes it a complete, standalone digital 

DJ system—no laptop required. This new update means DJs can simply plug in a storage device 

and start mixing using the built-in decks, mixer and high-resolution color display. 

New features include: previewing a song directly from the song browser, add gain per 

channel and allow its value to be stored with each track plus now you can monitor 

VU level of the master outputs or decks A & B. The pitch stretching range option 

adds +/- 8 percent and +/- 15 percent to existing options and active 

playlists can be sorted by artist, BPM and time length. 

Lastly, for better sync and solid looping of sections, you can do 

beat grid editing in real time with both tap tempo or just dial-in the 

new tempo that is “jamming” for you and your audience. 

The new SC-IX Version 4.0 release and both Mac and PC versions 

of the QuickGrid high-speed analyzer are now available for download 

from the Stanton website. Visit http://stantondj.com. 


DISTORTION 

DIRT 

GRIT 

CHUNK 

FUZZ 

 

 

 

 

 

 

 

 

 

 

 

OVERDRIVE 

GRIND… 

BOOST DISTORTION 

Hey, remember the ‘80s? A lot of 

bad clothes perhaps but some 

way-cool, aggressive distortions. 

Tight, muscular grind with buzz-saw 

harmonics never went out of fashion 

and the Boost Distortion delivers 

that fast punchy tone. It features its 

own unique SAG control that adds 

an expressive,tube-like response to 

every pick stroke. 

BOOST OVERDRIVE 

Putting an overdrive pedal in front of a 

hard-pushed amp has been the secret 

weapon for generations of guitarists 

wanting to punch up the midrange and 

add sustain. The Boost Overdrive is 

packed with voluminous amounts of 

screamin’ tone. Just hit the Boost switch 

to go bigger and badder. The unique 

SPARKLE control adds upper harmonics 

for an open, snappy sound. 

BOOST FUZZ 

Vintage pedal hounds know that 

germanium fuzz sounds are way 

sweeter than silicon fuzz…but only 

when the temperature is just right and 

doesn’t spike. The Boost Fuzz solves 

that problem by nailing that creamy 

germanium tone, consistently all night 

long. This SAG control allows notes to 

bloom and sing at your command, for 

dynamic, organic performances. 

BOOST BASS FUZZ 

When you need a huge, 360-degree, 

room-filling bass tone, step up to the 

Bass Boost Fuzz. Get the fat, gritty 

sounds of the ‘60s fuzz bass and put 

some musical rage in your low-end. 

When you need more focus and 

edge, dial in the +CLEAN control to 

add just the right amount of direct 

tone to your mix. 

Designed and Manufactured in the U.S.A. 

April www.tech21nyc.com 

2013 www.musicconnection.com 11

CAD AUDIO GXL DUAL WIRELESS SYSTEMS 

CAD Audio’s value-oriented GXL Series of studio microphones, headphones and accessories now has 

two new wireless systems: the GXL-V VHF (185.8 to 213.4MHz) and the GXL-U UHF (543.1 to 593.5MHz). 

These are transmitter/receiver bundles with a choice of either a handheld microphone or body pack transmitters 

supplied with a guitar cable and a head worn condenser boom mic. 

Both the GXL-V VHF and the GXL-U UHF systems each have dual receivers inside side-by-side so that 

two transmitters’ signals can be receiver simultaneously. One transmitter might be the handheld microphone 

and the other a body pack transmitter for guitar or head-worn boom mic. 

The receivers have green indicator LEDs that show solid radio signal strength and good and clear 

audio signals—yes or no. The receivers also have convenient volume controls for setting 

proper audio level to your mixer, PA system or musical instrument amp if you’re using 

the body-pack transmitter for guitar or bass. 

I like that the receivers have both professional XLR and 1/4- 

inch discrete outputs for each channel plus another XLR jack 

for a mix of the two channels’ audio streams together. 

I just love the affordable price point of these systems. CAD 

Audio’s GXL-V VHF wireless is $129 MSRP and the CAD 

Audio GXL-U UHF wireless is $209 MSRP. 

For much more about these new wireless systems and the 

entire CAD Audio lineup, check out http://cadaudio.com. 

GOBY LABS GBU-300 

UNIVERSAL GUITAR STAND 

WICKED AUDIO SOLUS HEADPHONES 

—BARRY RUDOLPH barry@barryrudolph.com 

To call it just a “guitar stand” would be unfair to the design 

and utility of this great new product. The GBU-300 Universal 

Guitar Stand ($65.95 MSRP) is universal because both 

the base’s width and the height of the head stock cradle are fully adjustable. That means the GBU-300 will 

support and protect any instrument from all acoustics—great and small, electric guitars, baritones, mandolins, 

even large six-string electric bass guitars. Like the Goby Labs well-designed microphone stands, the 

GBU-300 Universal Guitar Stand features all-black, powder-coated die-cast metal components and very few 

non-metal parts. 

With this transforming guitar stand, you can lock-in a wide stance for the tripod legs to insure maximum stability 

and know the body supports’ molded rubber covering won’t scratch instrument bodies and necks. These rubberized 

supports are large loops that become carrying handles when the stand is collapsed and readied for travel. 

The GBU-300 Universal Guitar Stand has a lock-open/spring-closed mechanism 

that provides instant access when switching guitars during live stage performances. 

The ratchet mechanism locks the clasp open and out of the way for immediate 

access or lock it down for full security during storage. 

Another winning design, the Goby Labs GBU-300 Universal Guitar Stand 

sells for $65.95 MSRP and is exclusively distributed by Hosa Technology, Inc. 

Check out http://gobylabs.com. 

The Wicked Audio Solus headphones’ appearance fits right into the trendy style of the DJ/Dance/Rave 

crowd and are built to as sound good as they look. Visually stunning, they come in matte-black with red 

logos on the L/R ear cups and a matching red, soft headband cushion. The thick, braided cord is brilliant 

red and looks like it’s made from ballistic nylon or Kevlar. For extra ruggedness, it is firmly anchored in 

the right ear cup. 

The Solus headphones are a solid-working tool and come with an inline volume control and DJ switch 

module located about halfway down the 4-ft. cord. The DJ switch is for toggling between stereo and mono 

playback so both sides have the same sound for cueing using either ear. Both ear cups swivel out of the way 

easily and, while doing this, the phones still feel comfortable on my head. 

These phones are made for clubbing; they are lightweight, comfortable to wear for long hours, have plenty 

of low frequencies and are capable of extreme volume levels. They have large, low impedance (32-ohm) 40-mm 

Neodymium drivers and come with a 6-ft. extension cord and 1/4-inch gold-plated adapter. 

Wicked Audio Solus Headphones sell for $100 MSRP. For more about them, check out http://wickedaudio.com. 

ALLEN & HEATH ICE-16 INTERFACE/CAPTURE 

Allen & Heath has introduced a brand new product, the ICE-16. The ICE-16 is dual-purpose: it is a 16-channel In/Out 

Firewire 400/USB 2.0 audio interface for you computer’s DAW and it also works standalone, capturing high quality multitrack 

recordings directly to a fast, USB thumb drive. 

A 1-rack space unit, the ICE-16 records and playbacks 16-channels at up to 24-bit, 96kHz resolution. Alternately in standalone 

mode, 16-channels of audio, at up to 48-kHz/24-bit can be simultaneously recorded straight to a USB hard drive or 

memory stick/thumb drive. The ICE-16 is expandable with several units linkable for recording many channels. 

Allen & Heath’s ICE-16 connects to any audio mixer or analog source using 1/4-inch input jacks and RCA output jacks. 

Signal present and peak LEDs are provided for each channel showing either input or output. There is assignable headphone 

monitoring and ASIO drivers and Core Audio support for MAC and PC DAWs running Logic, Sonar, Cubase and Pro Tools. 

Suggested MAP is $999. Learn more at http://allen-heath.com. 

BARRY RUDOLPH is a recording engineer/mixer with 

over 30 gold and platinum RIAA awards to his credit. 

He has recorded and/or mixed: Lynyrd Skynyrd, Hall & 

Oates, Pat Benatar, Rod Stewart, the Corrs and Robbie 

Nevil. Barry has his own futuristic music mixing facility 

and also teaches recording engineering at Musician’s 

Institute, Hollywood, CA. http://www.barryrudolph.com 


FULL PAGE 


BOOK STORE 

For the Coffee Table... 

Green Day: 

The Ultimate Unauthorized History 

By Alan di Perna (hardcover) $35.00 

Lauded for bringing punk rock to the masses, 

Green Day’s remarkable rise from teenage 

garage band to multiplatinum artists is 

documented here for the first time to coincide 

with the band’s 25th anniversary. Di Perna’s 

revealing text is accompanied by more than 

300 visuals, including concert and candid 

off-stage photography, gig posters and 

handbills, 7-inch picture sleeves, rare vinyl, 

backstage passes, and more, all presented 

in a stunningly designed package. 

Kalamazoo Gals 

By John Thomas (paperback) $21.95 

The author discovers that, during World 

War II, Gibson employed a nearly all-female 

workforce to build 

thousands of guitars, 

each marked 

with a golden 

“banner.” Tracking 

down a dozen of 

the women, he time 

travels with them 

through the Great 

Depression and into 

WWII. He also wanders 

the abandoned 

Gibson factory in 

Kalamazoo, steps 

into an imaging 

clinic to seek radiographic 

evidence 

of the sublime quality of the Gals’ craft, and 

tracks the “Banner” Gibsons from the factory 

into the hands of their first owners. Along the 

way we’re led straight into the hearts of the 

Kalamazoo Gals. 

The Fender Telecaster: 

The Life & Times of the Electric Guitar 

that Changed the World 

By Dave Hunter (hardcover) $40.00 

It’s the 60th Anniversary of the Fender Telecaster 

and this new book is the first, detailed 

history of one of the true icons of guitars and 

the music world. 

The book tell 

how the Tele 

became the ultimate 

blue-collar 

guitar, with 

the complete 

history from 

development, 

through the 

CBS years, to 

present day 

Artist Series 

models and 

other variations. 

The book 

is also chock-full of beautiful photography, 

period advertisements, great quotes, album 

covers, diagrams and more. 

The Fender Stratocaster 

Handbook 2nd Edition: 

How to Buy, Maintain, Set Up, 

Troubleshoot and Modify Your Strat 

By Paul Balmer (hardcover) $27.00 

Fender’s Stratocaster is THE ICON of the 

guitar world. It’s not just a manufacturer’s 

hype that this is the most popular guitar of all 

time. Introduced 

in 1954 and thus 

now more than 

50 years old 

and counting, 

Fender’s electric 

Stratocaster not 

only revolutionized 

guitars but 

also popular 

music. Strats can 

be modified and 

customized in a 

myriad of ways. 

This book will 

explain how to 

do it all yourself. 

And like a car manual, even if you don’t do the 

work, it’ll be ideal for dreamers or people who 

want to talk the talk. 

Musician’s Notebook: 

For Lecture and Notation 

By Brian W. O’Keefe (softcover) $15.00 

As a former student, the author found it challenging 

to keep musical notations, comments 

and lecture notes 

orderly and accessible. 

So he created 

a notebook that 

stores everything in 

one binder. Divided 

into four sections 

and three formats, 

it provides areas for 

notes and analysis 

as well as assignments 

and compositions. 

Complete with 

staff/manuscript paper, 

it enables note 

taking on the same page and has perforated 

edges for assignments. It is available at http:// 

lakeyboardproject.com. 



Fame Wizard 

By Jonathan Widran 

Success as an independent artist in 

the contemporary, digital distribution 

driven music industry requires 

strong business acumen and entrepreneurial 

skills like never before. Few are as 

familiar with the shifts in the landscape– 

and the best strategies for success in the 

current DIY artist dominated realm–than 

the Fame Wizard team backed by former 

major label executives, Grammy winning 

artists and music biz legends. 

Founded in 2010 as an artist platform 

with a strong educational development 

focus, Fame Wizard (http://famewiz.com) 

has evolved into a dynamic Artist Development 

Company dedicated to growing the careers of musicians through 

a strategic program that includes one-on-one coaching as well as insightful 

lessons and webinars that teach musicians how to achieve success as 

an indie artist. Dedicated to demystifying the modern music business, the 

organization also offers exclusive opportunities to expose their members’ 

music to new fans and influential professionals within the industry. 

A powerful (and self-empowering) response to the new music business 

paradigm, Fame Wizard was founded on the simple premise of guiding 

and developing artists who are serious about their music toward a pathway 

for success. The site includes a comprehensive educational curriculum, 

catalog of courses, lessons and webinars—but the key element is building 

a positive/productive working relationship with a Fame Wizard Coach. 

Fame Wizard’s COO Tony Delmercado likens the presence of the 

coach in the musicians’ life to “working with a trainer rather than just 

having a gym membership.” Each artist consistently works with his or 

her coach, who acts as a guide, career strategist, mentor, accountability 

partner and friend throughout their Fame Wizard experience. These 

Coaches—many of whom are successful musicians with vast industry 

experience and degrees—also administer the curriculum, guiding artists 

through educational topics relevant to today’s indie music marketplace. 

The courses are concise, interactive and serve as a starting point for 

many deeper and profoundly more impactful discussions when applied 

to the individual artist’s needs. The catalog of courses, lessons, webinars 

and interviews are available online 24/7 allowing the individual artist to 

customize when and how deeply they want to review the content. 

Each course listed on the site opens to a number of specific multimedia 

lessons (four to 10) featuring written information, video, audio 

and external links. The courses include Performing Rights Organizations 

and Other Key Organizations; Copyrighting and Legal Protection; 

Getting Radio Airplay; Getting Your Music Reviewed; Marketing and 

Promotion; Distribution; Branding; Using Social Networking to Engage 

and Grow Your Fan Base; Networking and Professional Development; 

Getting Press; Financial Responsibility and Fundraising; Booking Gigs; 

Scheduling and Planning Tours; Building a Professional Team – Including 

Developing and Guiding a “Street Team”; Landing Licensing Opportunities; 

Selling (and Giving Away) Your Music; and How and When to Get 

Professional Recordings. 

“Rather than just another distance learning company streaming tons 

of information,” says Delmercado, “we’ve created a regimented, customized 

path, or funnel, that is geared towards serious and ambitious artists 

whose entry point is any level of the business. We’ll work with someone 

who has never done a gig, released a CD or created a copyright differently 

than we approach a client who is already touring regionally or has a 

notable discography. 

“We strongly believe that there has never been a better time to be a 

DIY musician,” he adds, “but of course there is also more competition 

because the barriers are lower. One of the biggest problems we notice is 

the vast amount of misinformation that exists among up-and-coming indie 

artists. While consumers have adapted to the digital revolution, musicians 

sometimes still think if they get their music to one key person, that person 

can make their career happen. But being an indie artist now is more like 

being an entrepreneur and major label deals are not a predominant force. 

Our mission is servicing indie artists and helping them gain meaningful 

exposure to rise above the noise.” 

Fame Wizard’s membership application is in-depth by design, in line 

with the organization’s desire to work not only with talented musicians 

with great career potential, but those serious and dedicated to the hard 

work that lies ahead. “Seriousness of purpose is a must,” says Delmercado. 

“That’s as important an element to success as anything else.” 

Contact Fame Wizard, http://famewiz.com 



Kat Von D, deadmau5 Build Speakers At SXSW 

Kat Von D and deadmau5 toured the Sonos Studio at SXSW and experienced 

the Sonos PLAYGROUND interactive audio-visual exhibition, built their own 

speakers out of everyday materials, and played video games with fans while 

deadmau5 played his favorite music throughout the venue. Pictured is the 

duo showing off their custom-built speaker. For more SXSW coverage, see 

our two-page spread on pages 46-47. You can also see extensive video 

coverage at http://youtube.com/musicconnectionmag. 

Enter the Haggis Track With Telefunken 

Since their birth in 1996, Toronto’s Enter the Haggis have kept a rigorous 

recording and touring schedule, playing across Canada, Europe and 

the United States. The band are currently in the studio, teaming up with 

producer-engineer Zach McNees. Pictured is Enter the Haggis lead singer 

Brian Buchanan with a Telefunken U47 featuring the “Copperhead” finish 

from the company’s Custom Shop. 

Village Recorder Boasts Argosy Boards 

In addition to offering four commercial rooms with vintage and modern 

equipment available, The Village Recorder—in Hollywood, CA—has long 

supported independent producers and songwriters by providing private 

production facilities on the complex’s upper floors. Two creative artists 

currently in residence are GRAMMY-winning engineer, producer, musician 

and songwriter John Alagia (pictured) and GRAMMY-winning engineer, 

producer, studio designer and author Ken Caillat, who both maintain studios 

based around workstations from Argosy Console, Inc. For more Argosy 

updates, visit http://argosyconsole.com. 

Progressive metallers the Safety 

Fire have entered London’s 

The Dairy studio to record their 

sophomore album and follow-up 

to their critically acclaimed debut, 

Grind The Ocean. This currently 

untitled release will be produced 

again by the band’s guitarist 

Derya “Dez” Nagle, who previously 

worked with Frank Turner 

(Mongol Horde), Rise to Remain 

and the Haarp Machine. Head 

over to http://facebook.com/thesafetyfire 

for complete details. 

Columbus, OH metalcore act 

Like Moths To Flames (LMTF) 

are currently in the studio, working 

on their next LP. For the 

upcoming release, LMTF reunites 

with When We Don’t Exist producer 

Will Putney (Upon A Burning 

Body “Red, White, Green”; 

Miss May I “At Heart”; The Amity 

Affliction “Chasing Ghosts”). The 

album is tentatively scheduled for 

a July release. 

Like Moths to Flames will be 

headlining the 2013 edition of the 

Rise Records Tour, which also 

features support from Crown The 

Empire, the Color Morale, Palisades 

and My Ticket Home. For 

tour dates, visit http://facebook. 

com/likemoths. 

The Oscar winning score 

of Life of Pi was captured for 

audiences using AEA’s R88 

stereo ribbon microphone. Los 

Angeles-based engineer Brad 

Haehnel recorded and mixed the 

soundtrack for the movie, which 

recently garnered four Academy 

Awards including Best Original 

Score for Mychael Danna. The 

AEA R88 faithfully reproduced 

the sound of the horn section 

while vintage RCA 44 ribbon 

microphones were used as spot 

mics during the sessions at the 

Fox scoring stage. Read how the 

entire score came together at 

http://ribbonmics.com. 

Producer Playback 

In the back of the mind of every engineer I’ve met, they feel like 

they don’t really know what they’re doing. Everybody has this 

nagging doubt that they’re a fraud. You have to get comfortable 

with that feeling; that you’re not really in control. — Steve Albini 


—ANDY MESECHER andym@musicconnection.com 

Hideaway Studio Upgrades To ATC 

The Hideaway Studio owner-founder Joseph Mabbott and singer-lyricist 

Marianne Dissard used Control Room A’s new pair of ATC SCM25A Pro 

monitors for listening back to tracks on Dissard’s upcoming album, The Cat 

Not Me. The record is expected to release May 20, 2013 through music label 

Tucson Music Factory. Get Hideaway’s full gear listing at http://thehide 

awaympls.com/gear. 

Seattle Studio Unleashes An Analog SSL Console 

Rogue Island Entertainment is setting the stage for film and videogame audio 

projects with a Solid State Logic Duality SE console in its newly rebuilt 

Studio A. Carrying on SSL’s sonic legacy and industry standard user interface, 

Duality provides Rogue Island with the fully integrated 5.1 surround 

capabilities and DAW control necessary to address the needs of modern 

production workflow. The advent of Duality in the Seattle media scene is 

expected to attract a wide client base to this prestigious production studio. 

Visit http://rogueisland.com/studio.html. 

DAVID GOGGIN 

Dawes Tracks With King In Asheville, NC 

Dawes will release Stories Don’t End on April 9th through their own label in 

conjunction with their management company, Q Prime, after leaving ATO 

Music Records Connection last year. Tracked Ad Proof in five weeks last September in Asheville, NC, 

Ad Stories Rep: Don’t 

HR 

End features clean production from King (Tom Waits, Norah 

Jones), 

Code: 

who helped the band break out of its vintage mold, though they 

hunter 4th-horiz #2-2013 

don’t completely strip away that Laurel Canyon sound. See our video interview 

with the boys at SXSW: http://youtube.com/musicconnectionmag. 

Neve Stops Into Pensado’s Place At Vintage King 

Industry icon and renowned audio electronics inventor-designer Rupert 

Neve made a guest appearance at Vintage King Audio’s new Los Angeles 

showroom and studios to make an appearance on a special location edition 

of Pensado’s Place, the popular weekly webshow hosted by top mixing engineer 

Dave Pensado. Pictured center at VKLA are Rupert Neve and his wife 

Evelyn, with Dave Pensado (center) and enthusiastic fans Geoff Emerick, 

Lenise Bent, Will-Dog of Ozomatli, and others who met with the innovative 

electronics designer and his award-winning team. 

RECORD HERE! AT A TOP L.A PRODUCER’S PRIVATE STUDIO 

Jimmy Hunter’s 

A STATE-OF-THE-ART ProTools 10 HD6 STUDIO 

 

 

 


PRODUCER CROSSTALK 

RYAN 

HADLOCK 

323.363.2339 

www.mikewellsmastering.com 

By Rob Putnam 

As a child, producer Ryan Hadlock helped his parents build Bear 

Creek Studio in Woodinville outside of Seattle, WA. Since its launch, 

artists including Foo Fighters, Modest Mouse and Soundgarden 

have worked there. He’s recorded with the Gossip, Johnny Flynn and the 

Lumineers. Notably, he produced the Lumineers’ self-titled, Grammy-nominated 

album, which was certified Platinum on the day Music Connection 

spoke with him. The single “Ho Hey” also sat atop several charts. 

Hadlock views one of the most important parts of his job as uncovering 

and developing acts. “Most of what I’ve worked on have been projects 

that I’ve taken from an unknown level, helped bring them forward and 

make something great,” he explains. “I’m always looking for somebody 

who nobody knows about. I can help an artist get to the point where they 

can follow their art as long as they want 

to. That’s a good way to keep excited 

about the job.” 

For the past 10 years, Hadlock 

has attended South by Southwest. 

Sometimes he finds the undiscovered 

band that he’s looking for. He recalls a 

story from a recent attendance. “I hadn’t 

found anybody that had knocked my 

socks off,” he recollects. “I went to the 

Seattle party, where I’d know people 

and wouldn’t have to sell myself. I ran 

into a friend named Christen Greene. 

He gave me the Lumineers’ demo and 

asked me to check them out; he thought 

we’d be a good fit. When I listened to 

their CD, I knew I wanted to work with 

them. 

 

The three most important 

things he’s learned as a 

producer are: 

- 

 

 

 

 

 

 

“The demos were rustic,” the producer continues. “They were recorded 

on a home computer. The band came out to Seattle and played one of 

the strangest shows I’ve ever been to—it was some kind of plant swap or 

organic compost sale—on a tiny stage.” Obviously the relationship has 

developed beyond all expectations. 

Not surprisingly, since The Lumineers received its Grammy nomination, 

Hadlock has become busier. “I’ve had a lot more meetings with top 

record people,” he says. “I don’t know if the nomination had anything to 

do with it. I’m finding that these people knew who I was and they knew my 

track record. The nomination is just one more thing in the long list of projects. 

It’s making A&R people think that this isn’t a one-time thing. And it’s 

much easier to get meetings with the management of artists that I like.” 

His go-to piece of gear is the Roland Space Echo. As he explains, “I 

brought my guitar and Space Echo to Greg Dulli’s house [Afghan Whigs] 

and we did a song together. He said, ‘I want that on everything I do.’ It’s 

something that I still use on everything. In the world of digital precision, 

having an element of randomness is important. 

“I also tend to use the room more than most people. I do a lot of 

distant miking. I didn’t realize this until I went to Abbey Road. The session 

engineer who’d been there for 10 years told me that he liked the way I 

used the room when recording. You can hear that all over the Lumineers’ 

record with the depth of field. That’s something you can’t get out of a 

digital reverb.” 

Bear Creek is a residential studio with 32-foot ceilings situated in a 

barn on a 10-acre farm. Hadlock’s upcoming projects include work with 

Warner Bros.-signed songwriter L.P. and 17-year-old artist Roméo Testa. 

His production philosophy is a forward-looking one. “The most important 

project is always the next one, never the last,” he asserts. 

Contact Jake Livingston / Primary Wave Music (manager), 

jlivingston@primarywavemusic.com; Anne Watkins (publicist), 

awatkins@primarywavemusic.com; http://bearcreekstudio.com 


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Adam Rabinovitz 

Director of Artist Relations, Rdio 

Years with Company: Less than one year 

Web: http://rdio.com/artistprogram 

E-mail: artistprogram@rdio.com 

Clients: Bad Religion, Jim James (My Morning 

Jacket), Snoop Dogg (aka Snoop Lion), Questlove 

(the Roots), Brendan Benson (Raconteurs), 

of Montreal, Scissor Sisters, Aaron Gillespie 

(Underoath), Chromeo, Y La Bamba, Ra Ra 

Riot, The Hush Sound, Best Coast 

BACKGROUND: If streaming services are the 

future of music consumption, Rdio (pronounced 

ARGH-dee-oh) is poised to lead the 

pack. Offering a one-week complimentary trial 

in the US, the subscription program entices 

listeners with an unlimited buffet of ad-free, 

full-length albums they can access via PC, 

Android, Blackberry, Nook or iPad. Adam Rabinovitz 

was hired last October to help content 

creators jump aboard. 

From Physical Stores 

to Digital Realms: 

I started as a record store clerk on Martha’s 

Vineyard. From there, I became a music director 

at a radio station, WEOS, in upstate New York 

and then a radio promoter in Boston at Planetary 

Group. I was there for two-and-a-half to three 

years and then got into digital distribution, the 

first incarnation [of which was] emusic.com. I 

then went into artist management and music 

marketing in New York. Following that, I had an 

eight-year stint at a company called IODA in San 

Francisco, which was the biggest global distributor 

of music and film. 

New Opportunity: 

Rdio officially launched in early August of 2010. 

That’s when they came out of beta, so they were 

approximately two years out before I came on 

board. They found me, but I’m an active user 

and knew some of the people over here. This is 

one of the more exciting opportunities I’ve seen. 

Perfect Fit: 

[What made me a good fit was] my knowledge of 

the music space and having been in digital distribution 

before and post-Napster. During my time 

at IODA, I was heading the client relations team 

and working with a number of artists and record 

labels around the world, knowing what their 

needs are and what their questions were, even 

before streaming and services like Rdio were 

in the marketplace. Managing a team and the 

ability to work with all the different products out 

there was a great window to where the industry 

was going. I know a lot of artists and it’s about 

the ability to work with and talk to artists on their 

terms about these new opportunities. 

Direct to Artists: 

I interface with the management community 

and artists directly, integrating the product we 

launched into the day-to-day efforts of artists. I’m 

really focusing on building bridges with the artist / 

management community. 

It’s as much direct to artist managers as it is 

to artists. 

Getting On Board: 

Artists should visit http://rdio.com/artistprogram, 

which includes information both on the program 

and how to sign up. The only requirements are 

that they actively use Rdio and have music 

available on the service. The application process 

takes less than five minutes; it’s easy and artistfriendly. 

Upon sign-up, we provide information 

on how to use the program, with examples of 

“Artists are using this program 

to have a new type of 

conversation with their fans.” 

other artists and what they’re doing. We have 

a monthly newsletter we share in-site and do 

educational exercises around what successes 

have occurred. 

Get Paid Directly: 

We have deals with all the major labels and all 

the independent companies, as well as aggregators, 

so there are a lot of paths to getting your 

music on the service. The fee associated with 

the program is $10 per subscriber. And the artist 

program does not in any way affect the existing 

payment structures with labels and publishers. 

This is a direct-to-artist payment and we are the 

only service that has a direct-to-artist function as 

far as the payment scheme is concerned. 

Revenue Enhancement: 

[Rdio is] a complementary opportunity that’s a 

way to supplement existing revenue streams. 

It’s difficult to make a living as a musician and 

we believe artists deserve to be paid, so we’ve 

created this opportunity to create revenue 

based on doing what they do naturally—connecting 

with their fans. 

Sharing: 

Our artist profiles display what artists are listening 

to, the music they’re sharing, the playlists 

they’re making. It’s about curating a collection. 

It’s about socially sharing that collection through 

email, Facebook or Twitter. 

It’s a unique product that allows the user to 

curate and not just make playlists. It’s important 

to acknowledge that it’s also about an album collection 

and having an ability to share that. 

The Rdio Difference: 

We’re a music discovery opportunity as much 

as a music service. We have changed the way 

consumers are able to discover music and the 

way they’re able to share music. Rdio has been 

a leader in this space since the moment we 

—ANDY —Andy KAUFMANN Kaufmann 

launched. The founders of the 

company also founded Skype, 

so a lot of the lessons they 

learned during that experience 

have applied to this product. 

It’s about the ability to push 

music discovery in a way that 

the consumer benefits and 

is comfortable with. We have 

been a leader from day one on 

these innovations. 

World Party: 

This is a global company. 

We’re live in 17 territories 

around the world, including 

Australia, the UK, Germany 

and France. And I anticipate a 

lot of growth in Europe, Asia 

and potentially South America 

soon. When you look at the 

concept of music discovery 

and open that up on a global 

scale, that’s exciting. 

Every day, we’re seeing 

the results of people discovering 

music from regions they 

wouldn’t have had access to 

five or 10 years ago. You walk 

into a record store and it’s got 

a limited amount of shelf. That 

doesn’t apply in this case. It’s 

more about how much time 

you have to consume and 

who’s your guide. 

Share Anything: 

One of the exciting aspects of 

this program is that the sharing 

of music via Rdio and the artist program is not 

limited to the artist’s music. Whether it’s Brett 

Gurewitz of Bad Religion and Epitaph Records 

talking via his artist program links about people’s 

favorite Ramones records or posting that he 

loves a specific Van Morrison record on a certain 

day of the week is as exciting as promoting the 

new Bad Religion record. Artists are using this 

program to have a new type of conversation with 

their fans and a new way to engage people. 

Critical Mass: 

We’re in a place now where the average 

consumer, as well as the music industry, understands 

the value proposition of streaming. 

It’s about how you use it intelligently and how 

you differentiate yourself. And via this program 

we’re able to offer that opportunity, both to big 

and small artists. There were misconceptions 

about the value proposition around streaming, 

but I think we’ve moved past that. There was 

a point where labels were afraid of iTunes and 

eMusic and look where we are now. 

Follow Me: 

We also have an influencer program, where 

we’ve got brands, athletes and celebrities. The 

value proposition becomes––who do I want to 

follow? If you don’t follow anyone on Twitter, it’s 

a relatively useless product. I can wake up and 

look at what my friend in Boston is listening to. It 

drives my behavior at something I might not have 

thought about otherwise. 

Standing Behind Artists: 

Artists need to get paid in order to keep making 

music. Rdio, as a company, is committed to that. 

The program we’ve launched is a testament to 

that. I hope to see more of that coming from the 

industry as a whole. And I’m proud to be at a 

company that sees it that way. 


—BERNARD BAUR 

Music Connection’s 

Business Affairs 

delivers up-to-date 

information about the signings 

of new artists, significant 

developments at major and 

indie labels, as well as news 

of managers and attorneys who 

are active in the A&R aspect 

of the music business. So 

that MC can provide the most 

current information possible, 

please send any industry news, 

buzz or rumors that need to be 

verified to BBatMC@aol.com. 

OPPS 

CD Baby has introduced a new 

concept in music promotion: 

Download Wristbands. The 

new product, a wristband with an 

adhesive strip that includes a code 

to download an artist’s music, 

reimagines the more traditional 

music download card. While music 

download cards are usually sold 

or given away at a merch table, 

the Download Wristband presents 

additional opportunities. It can be 

bundled with concert ticket sales 

and distributed to attendees upon 

entering a venue. See http://mem 

bers.cd baby.com/music-down 

load-cards.aspx#wristbands. 

Slacker is taking the show on 

the road. Literally. At South By 

Southwest, Slacker unveiled 

a custom 75-foot touring rig, 

complete with a concert stage, 

product demo stations and a 

luxury VIP lounge. The rig will 

travel the country with stops at top 

music festivals, sporting events, 

and entertainment destinations 

where Slacker will host exclusive 

concerts, parties and artist showcases. 

You can follow the tour’s 

progress and schedule at http:// 

tour.slacker.com. 

The Slacker 2013 Tour will 

make dozens of stops—from 

Beale Street Music Festival to 

Country Jam Colorado—with 

on-site demos of the new Slacker 

digital music service, exclusive 

performances, one-of-a-kind promotions, 

parties, mobile charging 

stations, games, giveaways and 

more. For regular updates, follow 

Slacker at http://twitter.com/slack 

erradio. 

Whotune, a promotion and discovery 

channel for independent 

artists, has launched the beta 

version of the Rockstar Rising 

Facebook game. Rockstar Rising 

weaves together artist discovery 

with social gaming through interactive 

gameplay chronicling an act’s 

journey to fame. Throughout the 

game, independent artists’ music is 

featured, which gamers must learn 

to level up. Independent artists can 

submit their music to the Rockstar 

Rising game by creating an artist 

profile at http://whotune.com and 

entering the Rockstar Rising competition 

by checking the appropriate 

box. All songs submitted will 

be considered for future versions 

of the game. Visit http://apps.face 

book.com/rockstarrising. 

Strictly Rolling Music Promotion 

and Management is on 

a mission to discover and 

promote new music talent from 

around the globe. Whether you 

make the heaviest of rock, the 

funkiest of groove or the most 

ART OF SHOCK NAMED WARPED TOUR’S BBQ BAND 

Every year, it has been tradition for Vans Warped Tour founder and producer 

Kevin Lyman to personally handpick an up-and-coming, independent act 

to be the official BBQ Band for the tour. The BBQ Band is given a slot on 

the Ernie Ball stage in trade for serving delicious food consumed at each 

post-show BBQ. Many bands have made their start as a Vans Warped Tour 

BBQ Band, including Dropkick Murphys, Longway and others. This year, Hollywood, 

CA’s Art of Shock has been chosen for the prestigious honor. 

Lyman states, “I’m glad to have Art of Shock out on the grill and on stage 

this year!” To find out more, about this unusual act, go to http://shockonline.com 

or http://facebook.com/artofshockofficial. 

MOSES MUSIC INKS DEAL WITH TOTT ENTERTAINMENT 

Sean Johnson, a recent grad of the Musicians Institute’s Music Entrepreneur 

Business Program, launched his own entertainment company and 

label called TOTT Entertainment. His first signing, Moses Music, is a popular 

hip-hop artist from Oakland, CA. Moses is a multi-talented songwriter and 

rapper who originally debuted as “Young Moses” on many urban recordings 

over the years. Moses’ popularity will soar even further this month when 

he appears on the Oxygen Network’s reality series Bad Girls Club: Atlanta. 

TOTT plans to release mix tapes (for the ladies) while recording a full-length 

album of fresh songs. Pictured (l-r): Moses and Sean Johnson. To find out 

more, go to http://iamtott.com. 

slamming dance tracks, only one 

thing matters… it has to be hot 

and it has to be unsigned. The 

company’s aim is to help new 

acts get exposure and ultimately 

to make money from what they 

love doing best, making music. To 

learn more contact Carl Mills at 

info@strictlyrolling.com. 

LABELSRELEASES 

SIGNINGS 

Better 40 years later than 

never… The follow-up to the first 

record ever to bear the Iggy and 

the Stooges logo—the immortal 

proto-punk masterpiece Raw 

Power—will finally be out April 

30, when Fat Possum Records 

releases the all-new Iggy and the 

Stooges studio album, Ready To 

Die. The record finds guitarist 

James Williamson and drummer 

Scott “Rock Action” Asheton 

reunited for a full album of all-new 

material for the first time since the 

legendary Raw Power sessions, 

with Mike Watt filling in for the 

late Ron Asheton on bass. Iggy 

explains, “My motivation in making 

a record with the group at this 

point is no longer personal. It’s just 

a pig-headed fucking thing I have 

that a real fucking group should 

make fucking records—even 

when they’re older. They don’t 

just go and twiddle around on 

stage to make a bunch of fucking 

money...” You can go to http://iggy 

andthestoogesmusic.com for additional 

news. 

Grammy nominated, multi-Platinum 

selling boy band 98 Degrees 

have announced plans to 

release their first studio album 

in over 10 years. Featuring Nick 

Lachey, Drew Lachey, Justin 

Jeffre and Jeff Timmons, the 

new album, 2.0, will drop May 7 

via eOne Music. The band is also 

gearing up for The Package Tour 

their 47-city North American Summer 

tour with NKOTB and Boyz II 

Men which will kick off on May 28 

at Mohegan Sun in Connecticut 

and wrap Aug. 4 at the Bankers 

Life Fieldhouse in Indiana. 

Limited tickets for all shows are on 

sale now. You can find the latest 

dish at http://98degrees.com. 

Best Revenge Records has 

confirmed the April 30 release 

of former Maverick and 

CBS Records recording artist 

Keaton Simons’ new sophomore 

full-length Beautiful Pain. Coproduced 

with Mikal Blue (Colbie 

Caillat, One Republic) and 

mastered by Gavin Lurssen, the 

record will be distributed through 

ADA Distribution (Warner Music 

Group). The album includes 

co-writes with friends and peers 

Jason Mraz, Jason Reeves, 

Glen Phillips (Toad the Wet 

Sprocket) and Mikal Blue among 

others. Check out http://facebook. 

com/keatonsimonsmusic. 

OH alt-rock veterans Hawthorne 

Heights have signed with the 

Sony / RED distributed Red 

River Entertainment and are currently 

recording their new LP with 

producer Brian Virtue (30 Seconds 

To Mars, Chevelle, Audioslave), 

which will be released this 

summer, in conjunction with the 

band’s return to the Vans Warped 

Tour for the first time in six years. 

Together since 2001, Hawthorne 

Heights achieved major success, 

with their first two LP’s (2004’s The 

Silence in Black and White and 

2006’s If Only You Were Lonely) 

reaching Gold certification. 

Tom Petty and the Heartbreakers 

will play shows throughout 

North America this summer, 

including headline appearances 

at major festivals, arenas and amphitheaters, 

plus multi-show resi- 


—BERNARD BAUR 

dencies at the intimate Beacon 

Theatre in New York City and The 

Fonda Theatre in Los Angeles. 

Festival stops include headline 

appearances at the Bonnaroo 

Music and Arts Festival, The 

Hangout Music Festival and 

Firefly Music Festival. The very 

special New York and Los Angeles 

residencies are composed of five 

concerts in New York six concerts 

in Los Angeles. Ticket Packages, 

which include premium seating 

and exclusive band merchandise, 

will be available for all concerts. 

For more information, visit http:// 

tompetty.com. 

Indie rocker Eric Slater (profiled 

in the March issue of Music 

Connection) has released his 

newest single, “Dead Men.” 

The track is an introspective, 

triumphant, yet darkly bleak rock 

waltz that plays on mortality for its 

theme. It is the first published single 

for Slater as a solo artist since 

his 2007 LP release, Redemption 

& Disorder. To check it out, go to 

http://ericslater.com. 

PROPS 

Glitter Rose was a two-time winner 

at the 2013 Artists In Music 

Awards held at the Key Club in 

Hollywood, CA. She took home 

“Best Rock Artist” and “Album 

of the Year” honors for her 2012 

release Dead or Alive. Rose also 

performed at the event for a crowd 

of over 1,000 attendees. 

To learn more about Glitter 

Rose, go to http://glitterrose.com. 

If interested in submitting material 

for upcoming AIM Awards shows, 

you can obtain details at http:// 

aimusicawards.com. 

The L.A. Gay & Lesbian Center 

announced that rock legend 

Ozzy Osborne, Grammy-nominated 

Natasha Bedingfield and 

singer-songwriter Sia will perform 

at this year’s “An Evening with 

Women” on May 18 at the Beverly 

Hilton Hotel. Two-time Emmy 

winner and five-time Grammy 

nominee Kathy Griffin will host 

the night’s festivities. 

With the help of co-chairs Annie 

Goto, Kelly Lynch, Shannon 

Del and Brent Bolthouse, 

last year’s benefit raised more 

than $450,000 for the Center, 

which provides food and shelter 

for homeless youth, services for 

seniors, legal assistance, domestic 

violence services, mental 

health services and cultural arts 

programs. Visit http://anevening 

withwomen.org to purchase tickets 

for the event. 

Republic Records sponsored 

the “Music For Newtown” auction. 

Numerous artists donated 

special limited-edition items to the 

cause, and all proceeds benefited 

the “Sandy Hook School Support 

Fund,” which supports the 

long-term recovery needs of the 

Newtown community. 

Items included two tickets to 

see Tim McGraw, autographed 

guitars from the Eagles and 3 

Doors Down, signed Jack Johnson 

vinyl, signed Colbie Caillat 

songbooks, CDs, a comic book, 

and more from Of Monsters and 

Men, fun., Jewel, Five For Fighting, 

Owl City, and Big Bad Voodoo 

Daddy. To help the cause, go 

to http://musicfornewtown.org. 

The Lumineers’ debut album 

has gone Platinum. Following 

their performance at the Grammys 

this year, they sold over 66 

thousand copies of their Grammynominated 

album. Since its 

release last April via Dualtone, 

the Denver-based band sold over 

1 million total records. They are 

preparing to hit the road in the US 

DUST: RESURRECTED AND REISSUED 

New York-based Dust were one of the first “proto metal” bands to crank 

their amps to 11 and let it rip. Now the group’s seminal albums, 1971’s selftitled 

debut and 1972’s Hard Attack, are being reissued as a single CD and 

double vinyl (numbered for collectors) via Sony/Legacy. Featuring a stellar 

line-up, Dust included drummer Marc Bell (later christened Marky Ramone, 

of the Ramones), bassist Kenny Aaronson (who played with everyone from 

Bob Dylan to Joan Jett), singer-guitarist Richie Wise, and lyricist-producer 

Kenny Kerner—both of whom would form a production team and produce 

Kiss’ first two albums. You can catch up with Dust at http://dustnyc.com or 

contact APFmanagement@yahoo.com. 

DIY Spotlight: 

HIP-HOP RAPPER Macklemore 

has been releasing music 

independently since 2000, and 

has gained a significant fanbase. 

He has released mixtapes, three 

EPs and two albums without 

record label support. 

His music video “Thrift Shop” 

has been viewed on YouTube 

more than 130 million times, and 

reached No. 1 on the Billboard 

Hot 100 chart after selling more 

than 2.2 million copies. 

He released his debut studio 

album The Heist on Oct. 9, 2012, 

which charted at No. 2 on the 

US Billboard 200 chart, selling 

78,000 copies in the first week. 

How did this indie artist achieve 

such success? Easy… through 

sheer DIY ambition. In 2000 he 

recorded an EP titled Open Your 

Eyes under the name Professor 

Macklemore, which he distributed 

himself. He then dropped 

“Professor” and released his 

first official full-length album, 

The Language of My World in 

Macklemore 

2005. In 2009, he dropped The 

Unplanned Mixtape. 

In 2010, he teamed up with 

producer Ryan Lewis to create 

the VS. Redux EP, using his experience 

with substance abuse 

to create the mixtape’s critically 

acclaimed song “Otherside.” 

Since then, Macklemore has 

been picked up by The Agency 

Group, an international booking 

company that added him to 

unrelenting tours. 

In 2012, Macklemore and Lewis 

announced their debut fulllength 

album and a world tour to 

support it. 

The album reached the No. 1 

position on the US iTunes Albums 

chart within hours. Raves 

from music publications, such 

as The Source, XXL and Rolling 

Stone, followed… calling this artist 

“an indie rags-to-riches story.” 

To learn more about this phenomenon, 

check out 

http://macklemore.com 

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

this spring. For further information, 

including tour itinerary, visit http:// 

thelumineers.com. 

THE BIZ 

Rock & Brews announced that 

KISS frontman Paul Stanley is 

joining forces with fellow KISS 

co-founder Gene Simmons in his 

Rock & Brews restaurant venture 

as the company prepares for worldwide 

expansion. Together, they cohosted 

the March 22 and 23 opening 

of Rock & Brews in San Jose 

del Cabo, Mexico, the second 

location for the emerging brand. 

Rock & Brews Los Cabos is the first 

international location for the new 

entertainment and rock-themed dining 

concept. To get the latest, visit 

http://rockandbrews.com. 

One of the former major players 

in the music business is back in 

the game. German multinational 

media group Bertelsmann has 

purchased the remaining 51 percent 

of BMG (Bertelsmann Music 

Group) from investment group 

KKR, bringing the company full 

circle and back into the recorded 

music business. 

This is a big deal in that the Big 

Three major record labels are now 

actually expanding to the Big Four. 

Who could’ve conceived that such 

a thing could ever happen, especially 

in these days of corporate 

consolidation? 

Scott Weiland had an interesting 

response to his termination 

from the Stone Temple Pilots. 

He replied via his PR rep: “I 

learned of my supposed ‘termination’ 

from Stone Temple Pilots by 

reading about it in the press. Not 

sure how I can be ‘terminated’ 

from a band that I founded, fronted 

and co-wrote many of its biggest 

hits, but that’s something for the 

lawyers to figure out. In the meantime, 

I’m looking forward to seeing 

all of my fans on my solo tour.” 

MICRO-BIO: Voted one of the “Top Music 

Business Journalists” in the country, Bernard 

Baur is the connection between the streets 

and the suites. Credited with over 1,200 

features in a variety of publications, he’s a 

Contributing Editor at Music Connection. 


The Truth About TAXI… 

An Unedited Forum Post from TAXI Member James Kocian 

http://forums.taxi.com/post353820.html#p353820 

Hi Friends, 

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

TAXI has been the singular catalyst 

for me in the past 2 years. I am 

closing in on 2 years of membership 

and my experience has been 

overwhelming. I will be at the Road 

Rally this year, as I've recently been 

invited to speak at the 'Successful 

Members' panel. 

This is all beyond humbling to me, 

and I feel indebted to Michael and his 

incredibly talented staff. 

Taking Risks… 

In a nutshell, TAXI has motivated 

me and allowed me to take creative 

risks; to dabble in genres I didn't 

even know existed, and to develop 

relationships with high-level music 

professionals I otherwise would 

NEVER have had access to. 

Major Publishers 

So far this year I've signed 13 

songs with major publishers. I'm 

writing with people all over the 

USA, and have made regular trips 

to Nashville a part of my routine. 

I've been co-writing with a guy 

who has had multiple (recent) #1's. 

It boggles my mind actually. 

Once in a Lifetime 

Opportunity! 

I'm writing Hip Hop tracks for a 

well known rapper's next project, 

and I'm connected to a Multi- 

Platinum, Grammy-Winning 

Producer who allows/asks me to 

regularly send him material to pitch 

to the biggest artists in music. That 

in and of itself is enough is a once 

in a lifetime opportunity, and it's 

been ongoing for nearly a year. 

There's more, but this isn't about 

me. It's about: T-A-X-I Have I 

mentioned that I live in GREEN 

BAY, WI? I mean, sure, we have 

the Packers — but it isn't exactly a 

music hub for anything more than 

Journey tribute bar bands. 

The World’s Leading Independent A&R Company 

1-800-458-2111 • TAXI.com 

I really can't stress how 

invaluable TAXI is to people who 

are willing to put the CRAFT into 

the ART of songwriting and music 

production. The "Forwards" section 

of the [TAXI] forum itself is worth 

the membership fee. Why? 

Figured Out What 

Elements I Missed… 

It's not to brag about Forwards. 

What I did was hit the [TAXI] 

Forums after I got “Returns” and 

found members who received 

“Forwards” for the same listings. 

Then I went and LISTENED. I 

analyzed the differences in our songs. 

Lyrics. Vocals. Arrangements. 

Instrumentations. Productions. I 

re-read the listings, and figured out 

what elements I missed. And I 

adjusted accordingly. 

Where else can you get that? 

The success of members (at least 

this member) is a TEAM effort. And 

I am honored to consider TAXI part 

of my team. It is possible to succeed. 

To “make it.” To realize our dreams. 

Don't quit. Don't settle. Don't lose 

hope. And stick with TAXI. 


DIRTY SOUTH 

Date Signed: January 2013 

Venue: The Wynn Las Vegas 

Type of Music: House 

Band Members: Dragan Roganovic 

Management: Stephanie LaFera 

Booking: achaykin@wmeentertainment.com 

Legal: Ed Shapiro 

Publicity: Jessica Erskine, jerskine@rogers 

andcowan.com 

Web: http://dirtysouth.com 

A&R: Dirty South 

To sign or not to sign? Fortunately Dirty South (Dragan Roganovic) 

had the means to avoid the label-signing situation altogether and 

started his own, Phazing Records, in 2010. The Grammy-nominated 

Australian DJ and producer has toured heavily for the past five years as 

well as collaborated and done remixes for names both huge and diverse 

including U2 and Snoop Dogg. Though he has no need to get picked up 

by a label, recently Dirty South has done some signing of a different sort. 

A major Las Vegas resort and casino, The Wynn, signed the artist for an 

exclusive yearlong residency. 

Dirty South debuted Feb. 1 at XS Nightclub, the first of a series of 

performances there and another Wynn venue, Encore Beach Club. The 

DJ says in a press release that fans can expect some “cool surprises” 

throughout the year. 

“Always try to make a record yours 

as much as you can.” 

Alongside this huge step forward, Dirty South finally released an album 

of his own, Speed of Life, on iTunes March 5 and on CD March 18th. With 

contributions from Rudy, Ruben Haze (a side project between Rudy and 

Dirty South) and Joe Gil, Dirty South’s debut LP is a variation of the different 

musical moods of the artist and the product of his touring experiences. 

It was during a US tour that Dirty South finally decided to use Phazing 

Records as an outlet for his first full-length, simply because, as he says, 

“it just felt right, and timing was perfect.” 

He looks at the album as a chance to show different sides. “There are 

high-energy tracks, vocal tracks, laid back tracks. It’s a concept of the 

way I work and the different things I can do. The things I normally do are 

pop-based, purely for the dance floor. A lot of the album is that, but at the 

same time, I was able to do different stuff,” he says. 

Once he decided to make the album, Dirty South committed to the studio, 

finishing the record in three months. And it was the record he wanted. 

“I think you should always try to make a record yours as much as you 

can, and on your terms. The way it comes out, the way it looks, the way 

people see it. I think that’s important. I think it has to reflect who you are.” 

—Jessica Pace 

YARD OF BLONDES 

Date Signed: January 2013 

Label: Hi Desert Lo-Fi/HK Corp./Believe 

Type of Music: Folk Rock 

Band Members: Vincent Walter Jacob, vocals, guitars; Fanny Hill, 

vocals, piano, organ; Dean Chamberlain, bass; Will Schlick, guitars; Ben 

Lecourt, drums. 

Management: Vincent Jacob / Hi Desert Lo-Fi LLC, 310-430-8055 

Booking: Vincent Jacob 

Legal: Vincent Jacob 

Publicity: natalie@adrenalinepr.com 

Web: http://yardofblondes.com 

A&R: Vincent Jacob 

It used to be that record companies held all the cards and discouragingly 

few bands were able to secure label deals. But with the massive industry 

changes witnessed in recent years, artists have had to become more innovative; 

more self-reliant. This is precisely what Los Angeles-based band 

Yard of Blondes learned prior to the launch of its label, Hi Desert Lo-Fi, in 

early 2013. Running an indie outfit, the band finds, has some advantages 

over signing with a traditional label. 

“I worked so hard so that we can be 

100 percent in control.” 

“I worked hard so that we can be 100 percent in control of our music and 

how the CDs are done,” says Vincent Jacob, band vocalist. “I've worked 

with labels in France and I always felt that I should have done it on my 

own. Nowadays it’s better to do everything yourself. Our goal is to recoup 

expenses and then take the profits to make another record.” 

“Starting it was a big challenge,” Jacob continues, “because when you 

know the industry it’s probably not a good idea, commercially. My biggest 

challenge now is to make us survive and keep our freedom. The motivator 

for me at first was to be able to sell my CDs legally. Our goal [now] is 

also to develop the label. Hopefully if it works we can sign other bands.” 

But even completely independent projects can benefit from some form 

of collaboration. That's why the label partnered with French-based HK 

Corp., an art agency that's notable for its work with Skrillex. “With [HK] 

we’ve been able to reach a distributor called Believe,” Jacob explains. 

“They're putting everything on iTunes and other platforms. We also made 

two videos and they helped us find directors.” 

Yard of Blondes’ four-song EP, Murderology, dropped on March 26th. 

It will be available online and also directly from the band. “I’ll ship them 

myself,” Jacob says. A West Coast tour will launch in April. The band 

hopes to expand the tour to Europe in July. 

—Rob Putnam 


JONNY FRITZ 

Date Signed: Jan. 27, 2013 

Label: ATO Records 

Type of Music: Alt. Country/Americana 

Management: Christine Stauder/Red Light Management, 646-292-7400 

Booking: Andrew Colvin, andrew@groundcontroltouring.com 

Legal: Jeff Colvin / Marcus & Colvin, 615-742-2565 

Publicity: Angie Carlson / angie@propellerpublicity.com 

Web: http://jonnyfritz.com 

A&R: Jon Salter & Kirby Lee / ATO Records 

Jonny Fritz is a master storyteller who can deftly spin a tale along 

the lines of his songwriting heroes like Tom T. Hall, Michael Hurley, 

Jerry Reed, Jerry Jeff Walker and Roger Miller. He crafts songs 

that have observational humor but are also loaded with hefty amounts of 

truth, irony, poignancy and personal experience. It is a skill he’s developed 

after nearly a decade on the road—traveling all around the world, 

playing every kind of dive along the way and selling two independently 

released recordings to supplement his income and spread his musical 

gospel. 

“[The label] wanted to wait until they 

had the time to do it right.” 

The artist’s latest full-length release, Dad Country, is out on ATO and 

is the first record using his real name. The former Jonny “Corndawg” (a 

nickname from his Virginian youth) had been working with his manager 

shopping the disc to labels. “I had my heart set on ATO,” says Fritz. “But 

I didn’t care how much money or political clout they had. ATO made it 

clear to me that they cared about the music but wanted to wait until they 

had the time to do it right.” When the time finally came and the contract 

was to be signed, he did it in his own inimitable way––he signed it in 

gravy at Arnold’s Country Kitchen in Nashville, TN. The owner even commemorated 

the event by taking a photo of it and, much to the delight of 

Fritz, hung it on the wall next to a photo of Johnny Cash. 

But the road to getting there was not without some bumps. Fritz was 

co-producing the album with frequent collaborator Taylor Goldsmith of 

the band Dawes. They had a studio locked down in Los Angeles, CA, 

and were prepared to record. At the last minute the original producer left 

them in the lurch. As luck would have it, Dawes were doing a show in 

Hollywood that week. Jackson Browne was friends with the guys in the 

band and had briefly met Fritz before as well. After seeing the show and 

learning of their plight, Browne offered up his recording facility in L.A. 

“I put out the last record myself and it was a lotta work,” laments Fritz. 

“Now ATO will handle all that side of it and I can just play the shows.” 

—Eric A. Harabadian 

Date Signed: August 2012 

Label: Columbia Records 

Type of Music: Dance 

Management: Andy Varley / Insanity, andy@insanitygroup.com 

Booking: Craig D’Souza & Peter Elliott / Primary Talent, 

craig@primarytalent.com 

Legal: NA 

Publicity: Alexandra Greenberg / MSO, 818-380-0400 x223, 

agreenberg@msopr.com 

Web: http://thedjfresh.com 

A&R: Ashley Newton & Harley Wertheimer / Columbia, 

harley.wertheimer@sonymusic.com 

A 

DJ FRESH 

household name in his native England, dubstep producer Daniel 

Stein blew minds as one quarter of drum and bass super group 

Bad Company. Better known as DJ Fresh, he concocted his own 

label, Breakbeat Kaos, with fellow platter spinner Adam F and signed to 

Ministry of Sound. 

Working on the song “Hot Right Now” for his third LP, he employed 

the services of British-Albanian singer Rita Ora, who’s signed to Jay-Z’s 

Sony-distributed Roc Nation. Fresh connected with Nation’s Ty Rock 

through his attorney, Andy Varley, who sparked Columbia’s interest. 

The label, in turn, sent Rob Stringer and Ashley Newton to Fresh’s soldout 

show at London’s Koko. This performance, combined with his ability 

to spotlight new artists via guest appearances, attracted them. 

Although other labels expressed interest, Stein chose Columbia. 

“Their team features some of the most respected people in the industry,” 

notes the artist. “The reputation, size and passion of the label was 

key.” At the same time, Columbia has agreed to let Fresh continue 

“The reputation, size and passion of 

the label was key.” 

partnering with small labels––they’ve already signed off on a project 

with Diplo’s outlet, Mad Decent. 

Stein let his manager hammer out the details of the agreement, 

which took around three months. “I trust him with this kind of stuff,” he 

says, “though I’ve ran my own businesses and it’s sometimes tough to 

let go. 

“My battle now is to take the music I love to the world,” he continues. 

“That’s a phase of my career that is relatively new and based on a 

long progression through running labels, releasing underground tracks, 

etcetera.” But if you want to get signed as a DJ, “You just need to take 

every opportunity you can,” he advises, “and push to make every opportunity 

work for you.” 

—Andy Kaufmann 


Deep in the Heart of Texas Songwriters 

The Texas Heritage Songwriters’ Association celebrated its 2013 inductees: 

Sonny Curtis, Ronnie Dunn and the late Roger Miller. Highlights included Toby 

Keith (pictured) who entertained the crowd with a Roger Miller musical tribute. 

Jay-Z Signs with Warner/Chappell 

Under the new regime of publishing heavyweight Big Jon Platt, Warner/Chappell 

has signed Jay-Z to a publishing administration deal for his future work 

as well as his music since 2008. Through a separate deal, Warner/Chappell 

will also represent the songwriters at Jay-Z’s entertainment and management 

company, Roc Nation. See http://warnerchappell.com. 

Bluegrass 

Songs Needed 

Have you written a new song 

that the bluegrass industry needs 

to hear? International Music 

Bluegrass Association (IBMA) 

will host a Songwriter Showcase 

to feature the work of 10 selected 

songwriters during the World of 

Bluegrass Business Conference 

to be hosted in Raleigh, NC, this 

coming September. 

The IBMA Songwriter Showcase 

is not a contest. Its purpose is to 

present new, original bluegrass 

songs to artists, producers and 

labels looking for new material, as 

well as to other industry reps in the 

audience. Both veteran and novice 

songwriters are invited and encouraged 

to submit songs. 

Submit a CD of one original 

song to: IBMA Songwriter Showcase; 

608 W. Iris Drive, Nashville, 

TN 37204. You may also email 

an mp3 file with lyrics in a Word 

document to nancyc@ibma.org. 

Deadline is May 1, 2013. Contact 

Taylor Coughlin at the IBMA office, 

615-256-3222, info@ibma.org. 

ASCAP EXPO Update 

The American Society of Composers, 

Authors and Publishers 

(ASCAP) has announced the initial 

lineup of panelists and programming 

for the Eighth Annual ASCAP “I 

Create Music” EXPO, taking place 

April 18-20, at the Loews Hollywood 

Hotel in Los Angeles, CA. 

Among the highlights: a Keynote 

Conversation between two massively 

successful Grammy-winning 

singer-songwriters and producers, 

Lionel Richie and Ne-Yo. 

A Keynote Interview with iconic 

Aerosmith rock star and songwriter 

Steven Tyler, who will be 

interviewed by entertainment news 

journalist Roger Friedman. 

A series of writer, composer and 

producer-focused Master Sessions 

with some of the most successful 

names in music, including 

Grammy-winning producer and DJ 

Diplo; producer and EVP of A&R at 

Def Jam Records No I.D. 

A broad range of panels covering 

important topics related to 

a successful career in music, 

including craft, engineering and 

recording, legal issues, marketing, 

publishing and more. Many 

successful songwriters, producers 

and influentials will be on hand to 

provide insight and advice, such 

as Akon, Antonina Armato, 

Aloe Blacc, Michael Brook, Don 

Cannon, Brandy Clark, Jimmy 

Fallon’s Jonathan Cohen, Mike 

Daly, LaShawn Daniels, Randy 

Goodrum, Brett James, Nathan 

Johnson, Emanuel “Eman” 

Kiriakou, Ledisi, Bleu McAuley, 

Dano “ROBOPOP” Omelio, 

Robert Ellis Orrall, Matt Pincus, 

Monte Pittman, Rock City and a 

total of over 150 others, including 

top music industry executives. 

See http://ascap.com/expo. 

DeShannon: 

Back to Kentucky 

Jackie DeShannon, credited as 

one of the first female singer-songwriters 

of the rock & roll era, is the 

latest recipient of the Governor’s 

Award For Lifetime Achievement. 

DeShannon will receive the 

award at the Kentucky Music 

Hall of Fame and Museum 2013 

Induction Ceremony. Previous recipients 

include Lionel Hampton, 

Dwight Yoakam, Homer Ledford 

and Hugh X. Lewis. This award is 

used to recognize people that have 

made a contribution to the music 

and entertainment industry as well 

as charitable causes in Kentucky 

and around the world. 

The Kentucky Headhunters, 

Exile, Skeeter Davis, the Hilltoppers, 

Old Joe Clark, Emory & 

Linda Martin and Steven Curtis 

Chapman will make up the 2013 

class of Kentucky Music Hall of 

Fame and Museum inductees. 

These artists will join other Kentucky 

native music professionals to 

Round Hill Climbs with Acquisitions 

Round Hill Music has acquired the writers’ rights to the Calvin Lewis-penned 

classic, “When A Man Loves A Woman,” as well as picking up the publishing 

and administration rights to the catalog of recent Song Biz profile subject pictured 

above, hard-rock songwriter Marti Frederiksen (Aerosmith, Def Leppard, 

Motley Cure, Ozzy Osbourne and Foreigner, Daughtry and Gavin Rossdale). For 

further information, see http://roundhillmusic.com. 

Songwriters March on Congress 

Multiplatinum songwriters Dan Wilson and Josh Kear met a room of Congress 

members and staffers to discuss new royalty rates on song streams and downloads. 

Pictured (l-r): Josh Kear; Rep. Martha Blackburn, co-chair of the Congressional 

Songwriters Caucus; Dan Wilson; and Paul Williams, ASCAP President. 


e honored for their contribution to 

music in the state and around the 

world. See http://kentuckymusic 

museum.com. 

Nashville Invites You 

The 11th Annual Nashville Songwriters 

Festival, May 30-June 2, 

2013, is billed as several music 

happenings in one: a live original 

music festival, a music conference, 

a networking opportunity and a 

gathering of old friends. 

The original performances, 

“Speak With A Pro” Mentoring 

Sessions and Networking Parties 

are concurrently running events. 

Attendees can take in all or parts 

or just play it by ear in three and a 

half days of music in all genres on 

multiple stages held in the Music 

Row vicinity of Music City. 

Performing and non-performing 

songwriters, music related business, 

volunteers and the public 

wishing to participate can check 

out http://songwritersfestival.org, 

email popcorn@songwritersfesti 

val.org or call 615-424-1491. 

BMI at SXSW 

Broadcast Music, Inc. (BMI) has 

announced various new technical 

upgrades and highlighted its new 

corporate positioning campaign at 

a “Powered By” focused press 

briefing at the annual South by 

Southwest (SXSW) Music Festival 

in Austin, TX. 

“Powered By reflects BMI’s 

focus on innovation and its ability 

to power or license establishments 

and digital platforms with music of 

all genres,” says Richard Conlon, 

Senior Vice President, Corporate 

Strategy, Communications & New 

Media for BMI. “During this evolutionary 

time in the industry, BMI 

has a diversified business model 

and strategic vision that has continued 

to adapt and address the new 

challenges while embracing new 

opportunities to broaden our business 

portfolio. Our new campaign 

signals BMI’s fast embrace of this 

industry evolution.” For complete 

information on all of BMI’s new 

initiatives, visit http://bmi.com 

Imagem’s New 

Digs in L.A. 

Imagem Music, the pop music 

division of the Imagem Music 

Group and the world’s largest indie 

music publisher, has just expanded 

with new Los Angeles, CA, offices 

at 9165 W. Sunset Blvd. in West 

Hollywood. The Imagem catalog 

includes works by Elvis Presley 

and Sammy Cahn, in addition to 

songwriting talent that includes 

Ludacris, Phil Collins, Genesis, 

Anna Nalick, Steve Robson, 

Jens Gad, Temper Trap, Hesta 

Prynn and Bombay Bicycle Club. 

Joining the Imagem Music L.A. 

team is Shari Reich, Director of 

A&R, who comes to Imagem from 

Warner Bros. Records in Burbank 

where she was Director of A&R. 

Robert Thomas has been named 

Manager, Creative Services for 

Imagem’s West Coast office. Previously, 

Thomas was a Licensing Accounting 

Manager at Rumblefish. 

Steve King, who is based in 

L.A. for Imagem Music, has been 

promoted to Director, Creative Services. 

He was formerly Manager, 

Creative Services. 

Imagem has promoted Brian 

Suh, based in L.A., to Director, 

Business & Legal Affairs. He 

was formerly Associate Director, 

Business & Legal Affairs. Suh will 

continue to handle Business Affairs 

matters for Imagem Music. 

In addition, Lauren Shulkey- 

Barker will be joining Imagem’s 

West Coast office and supporting 

the team as Creative Assistant. 

See http://imagem.com for 

further information. 

MICRO-BIO: Dan Kimpel’s newest book, 

It All Begins with the Music, is penned 

with legendary A&R exec Don Grierson. 

Hear Dan’s audio interviews worldwide on 

Delta Airlines. 

—DAN KIMPEL dan@dankimpel.com 

Jeff Campbell Honored as Guitar Center Winner 

Jeff Campbell was announced as Guitar Center’s Singer-Songwriter competition 

winner, earning him a career-boosting package including $10,000 cash, 

gear, a performance on Jimmy Kimmel Live! and the opportunity to record 

a four-song EP with mentor and producer John Shanks. Watch his awardwinning 

performance at http://jeffcampbellmusic.com. 

SESAC Christian Honors 

SESAC named songwriter-producer Jason Ingram as SESAC’s Christian 

Songwriter of the Year at ceremonies held on March 5 at the elegant Hillwood 

Country Club in Nashville, TN. Sony ATV Timber Publishing was named 

SESAC’s Christian Publishers of the Year. Pictured (l-r): John Mullins, SESAC’s 

Senior Director, Writer/Publisher Relations; Jason Ingram; Tim Fink, SESAC’s 

VP, Writer/Publisher Relations and Trevor Gale, SESAC’s Senior VP, Writer/ 

Publisher relations. 

Universal Hot 

with Hollander 

Universal Music 

Group songwriterproducer 

Sam 

Hollander’s most 

recent work includes 

One Direction’s 

“Rock Me” and Andy 

Grammer’s latest 

single, “Miss Me,” 

in addition to Train’s 

top 10 singles “Save 

Me San Francisco” 

and “Marry Me.” His 

previous success 

includes Gym Class 

Heroes, Katy Perry, 

Good Charlotte and 

Matt Nathanson, 

among many others. 

Visit http://umpg. 

com for more details 

BMI’s Pre-Grammy Songwriter Soiree 

Broadcast Music, Inc. (BMI) presented “How I Wrote That Song,” its annual 

pre-Grammy event at The Roxy Theatre in West Hollywood, CA. Pictured (l-r): 

panelists and hit songwriters Luke Laird; B.o.B; Snoop Dogg aka Snoop Lion; 

Catherine Brewton, BMI VP, Writer/Publisher Relations; and songwriter panelists 

Evan Bogart and Busta Rhymes. 


Ali Tamposi: 

Kelly Clarkson, Diplo, Beyonce 

BY DAN KIMPEL 

Don’t expect any weepy “victim songs” from Ali Tamposi. “They 

don’t make you feel better––they just reassure you of your pain,” 

she says. This songwriter prefers a more commanding message. 

“There is no better way to make someone feel better than five minutes of 

empowering lyrics in a cool, fuck you, twisted way.” 

Her breakthrough song, “What 

Doesn’t Kill You (Stronger),” a 

No. 1 Grammy-nominated dance 

anthem for Kelly Clarkson, is a 

resounding case in point. 

Since her arrival in Los Angeles 

from South Florida three 

years ago, the 23-year-old Tamposi, 

who envisioned a career as 

a recording artist, has blossomed 

as a formidable songwriter for 

marquee acts like Gary Clark Jr., 

Beyonce and Christina Aguilera. 

With her first co-writing ventures 

in Los Angeles she was expected 

to write topline––words and 

melody––to preexistent tracks. 

“Nine times out of 10 it never really 

meshes,” she notes. “There’s 

too much going on.” 

She first met her “What 

Doesn’t Kill You (Stronger)” collaborator 

Jörgen Elofsson when 

a fortuitous set of circumstances landed her in a writing session with the 

Swedish hit man. “One of the producers was looking for a top line writer,” 

she recalls. “Two days before the session I got called. I knew Jörgen 

from ‘A Moment Like This’ (Kelly Clarkson). I was shaking with fear and 

excitement.” 

After the session, Elofsson inquired about Tamposi’s publishing situation 

and invited her to Sweden to write. Since she didn’t have a publishing deal, 

and speculates that she probably had about $10 to her name, she didn’t 

think that a trans-Atlantic trip would be in the cards. She was mistaken. 

“Jörgen had just started his own publishing company, and wanted to sign 

me. He called his partner in that day. It was such a surreal moment; that 

whole process of going to Sweden and having a little bit of money.” 

“What Doesn’t Kill You (Stronger)” was written about a year and a half 

into the Elofsson/Tamposi creative partnership. (David Gamson and Greg 

Kurstin are additional co-writers.) “Swedes are not normal; they are on another 

level when it comes to melodies,” Tamposi laughs. “Writing with Jörgen, 

I have to come in with 10 different titles, and maybe of those 10 he’ll 

be okay with writing one. It’s a grueling process; he challenges me. The 

lyric has to be as good as his melody, and that’s hard to compete with.” 

A torturous breakup back home in Florida provided the backstory for 

“What Doesn’t Kill You (Stronger)” and it also fueled the emotions of 

“Empty Words,” recorded by Christina Aguilera, who shares co-writing 

credit with Tamposi and her collaborators Nikki Flores and Michael 

Busbee. Although Aguilera added her spin on the song in the studio, 

Tamposi has since collaborated with the pop star who she calls “a dream 

writer,” in person. “She’s one of the artists who I feel most comfortable 

writing with. But then she lays her vocals down and it is mind-blowing.” 

Tamposi explains her contributions to the collaborative chemistry. “Lyric 

and melody and concept, but not as much on the music side.” Although 

she says her mom “spent a shit ton of money on guitar and piano lessons. 

My musical skills aren’t enough to control a session.” She also notes that 

her current boyfriend “is an incredible guitar player, and I could never hold 

a candle to him.” He is James Valentine, lead guitarist for Maroon 5. 

“Songwriting is a difficult job; there is a lot of pressure in every session. 

You have to be on your ‘A Game.’ It’s a dream job, but it’s also 

work,” stresses Tamposi. That said, she appreciates the breathtaking 

trajectory of her career. “I honestly feel like this isn’t my life, and that I’m 

dreaming and that it’s three years ago and I’m going to wake up with my 

crazy ex-boyfriend.” 

For Tamposi, whose recent projects include Selena Gomez, Diplo, 

Shakira and Avicii, among others, the value of a song might be measured 

in a real message, a deep soul and a long life. “A great track with a great 

melody is a hit,” she concludes. “A great track, a great melody and a 

killer lyric make a copyright.” 

(advertisement) 

Contact Michael Moses, BWR Public Relations, 310-248-6171, 

mmoses@bwr-la.com 


“Producers have Pro Tools. Writers have Word. 

Songwriters have MasterWriter.” 

Rob Thomas 

Grammy Award winning songwriter and artist 

“MasterWriter will not only help you 

write great songs, it will make you 

a better songwriter in the process.” 

David Foster 

14-time Grammy Award winning 

songwriter and producer 

“This comprehensive, user-friendly 

program streamlines all aspects 

of the creative process. That is why 

I never write without MasterWriter.” 

Kenneth “Babyface” Edmonds 

Grammy Award winning songwriter, 

producer and artist 

“MasterWriter is a tool that 

fits the times we live in and 

is essential for the modern 

songwriter.” 

Jimmy Webb 

Grammy Award winning songwriter, 

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“MasterWriter is like 

having a co-writer with a 

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Kenny Loggins 

Grammy Award winning songwriter 

and Artist 

OTHER MEMBERS OF MASTERWRITER’S HALL OF FAME 

Kenny Loggins, Imogen Heap, Jeffrey Steele 

Gwen Stefani, Clint Black, Trent Reznor, Graham Nash, Carole Bayer Sager 

Lamont Dozier, Leon Russell 

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Go to MasterWriter.com and take the Tour 

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January April 2012 2013 www.musicconnection.com 31

DROPS 

Business and Legal Forms for Theater, 

Second Edition (Allworth Press) contains 40 

contracts and forms that will save artists and 

performing groups thousands of dollars in 

lawyers’ fees, while minimizing their legal risks. 

Attorney, producer and playwright Charles 

Grippo explains the proper use of each form 

in clear, concise language. These ready-to-use 

forms and 

contracts cover 

every aspect of 

theater law, including 

author 

agreements, 

commissions, 

production 

license, play 

publishing and 

more. Also 

included on 

a convenient 

CD-ROM, the 

forms can 

be copied 

electronically, 

modified, customized 

and saved. This new book is available 

at all major bookstores but may also be ordered 

directly from the publisher by calling 212-643- 

6816 or visiting http://allworth.com. 

Sumthing Else Music Works has released 

Gears of War: Judgment – The Soundtrack. 

Featured is original music composed by Steve 

Jablonsky (Gears of War 3, Gears of War 2, 

Transformers 

movie trilogy) 

and Jacob 

Shea (Gears 

of War 3, Crysis 

2, Prince 

of Persia: The 

Forgotten 

Sands). The 

CD is available 

at retail outlets 

worldwide 

through 

Sumthing 

Else Music Works http://sumthing.com, and 

for digital download at Amazon MP3, iTunes 

and other digital music sites. Contact Greg 

O’Connor-Read, greg@topdollarpr.com. 

CUMBERLAND RIVER 

Casey Crascenzo, aka the Dear Hunter, will 

release, Migrant, on April 2, on Equal Vision 

Records. Ahead of that album, the multi-talented 

artist will release a DVD recorded live where he 

performed all 36 songs from his previous collection 

of work, The Color Spectrum, with full band 

and string section. The DVD of this event will be 

released on March 12th. The disc, The Color 

Spectrum, has garnered high praise, impressing 

viewers that a band with so little money can 

produce such high-quality live DVDs. To see a 

clip, click on “Home” from The Color Spectrum 

Live, http://youtu.be/aSb4Z R8iSjw. 

The 10th anniversary season of Glorya 

Kaufman presents Dance at The Music Center 

continues in Los Angeles with TRACES, April 

26-28 at the Music Center’s Dorothy Chandler 

Pavilion. An off-Broadway smash combining 

traditional acrobatic forms with street elements 

such as skateboarding and basketball, mixed in 

with some theatre and contemporary dance, the 

production is making its Music Center debut. For 

more details see http://musiccenter.org. 

Award-winning composer Jeff Beal tackles the 

unique challenge of scoring a project in a new 

medium of entertainment distribution. Beal sets 

the tone for Netflix’s first original series, the 

critically acclaimed drama House of Cards, 

starring Kevin Spacey and Robin Wright. 

The show debuted in February and in an 

unprecedented move, made all 13 Season One 

episodes available to be instantly streamed. 

Beal approached House of Cards as if he were 

scoring a film, inspired by the no-holds-barred 

direction of the series. In addition to scoring the 

show, Beal also plays the piano and trumpet for 

the show’s popular theme song. The two-disc 

score album is set to be released Friday, April 

2, on Varèse Sarabande Records. Contact 

Ray Costa, rcosta@costacommunications.com. 

OPPS 

The Nashville SongWriters Festival on Music 

Row is planning four full days of live original 

music from all genres on multiple stages, 

education, parties and networking, May 30-June 

2nd. Writers can attend the Specialty Music 

Areas featuring over 18 Industry Topics plus 

Q&A sessions about the business of songwriting. 

There are no pre-qualifications to play or attend 

and all attendees will have the opportunity 

to share their words or music. Register at http:// 

songwritersfestival.org or call 615-424-1491. 

ARTIE KORNFELD 

Sunset Island Music and Artie Kornfeld, who 

was instrumental in bringing Woodstock to fruition, 

are joining forces and planning the Back 

to the Garden Festival for the Fall of 2013. 

Sunset Island Music produces a music show on 

the Internet for unsigned bands and indie artists 

that is hosted by DJ Damien. The program, 

which has over 1,700,000 listeners, encourages 

unsigned bands and indie artists to sign up at 

http://sunsetislandmusic.com to be eligible for 

play on their radio shows and the festival. 

Music Business Television is seeking artists 

and bands to submit videos for their MUBUTV 

Featured Artist Series which will showcase 

videos from new and up-and-coming artists of 

any genre. “We want MUBUTV to be the trusted 

source to help break the next generation of artists,” 

says Ritch Esra, one of the co-founders of 

MUBUTV. Artists and bands looking to submit 

their videos for consideration can visit their official 

website at http://mubutv.com. 

Soundcheque is a new site that matches 

original music to movies. This site promises 

composers will retain all rights and royalties in 

exchange for a one-time 20 percent finder’s fee. 

To take advantage of this service, visit http:// 

soundcheque.com. 

Talent reels are being accepted for consideration 

as a female co-host for a proposed 

reality game/dance show. Producers specify 

a woman with blondish, red or light brown hair 

who is not “super tall” and can travel. Interested 

women are asked to contact http://linkedin.com/ 

pub/james-marthaler/24/539/574. 


—TOM KIDD prespak1@verizon.net 

JOHNNY BENNETT 

Premiering in April is a new TV program called 

The Stars of Tomorrow Show. If you are a 

country, bluegrass or gospel artist who is interested 

in traveling to Nashville, TN, and being a 

guest on the show send an email to jkcoltrain@ 

gmail.com. 

The producers of MTV’s Run’s House and 

Style’s Tia and Tamera are looking for an 

outgoing, over-the-top choir, cheer squad or 

step team to star in their own reality TV show. 

If yours is one of the loudest, most outgoing 

groups you know and are between the ages 

of 18-26, apply at http://jameskarhu.com and 

select “Step, Cheer, Choir.” 

T-3, an online talent show brought to you by the 

creators of MTV’s Unplugged and the Nickelodeon’s 

Kid’s Choice Awards, is seeking the 

next big web star. Contestants are asked to 

perform any three talents, the more unusual the 

better, all within three minutes. For complete 

rules, email t3prods@gmail.com. 

Fundervine is a new crowd-funding platform 

for music and film projects. Users can simply 

register, create a project and get funded. Filmmakers 

can get pre or post production funding, 

help with staging a premiere by raising funds 

through ticket sales or simply offering a finished 

DVD as a reward. 

The site works by offering rewards to fans or 

supporters who can pledge to help the project. 

They are not charged unless the project raises 

all the money asked for. Rewards can be anything 

tangible and project owners can choose to 

raise funds for 30 to 90 days. Fundervine is open 

for new projects now at http://fundervine.com. 

PROPS 

In July 2010, Cumberland River was invited to 

perform for the writers and producers of the FX 

Network’s TV show, Justified, while producers 

were in Harlan, KY, gathering information 

for their upcoming season. With only 24 hours 

notice, the band got together and wrote a song, 

“Justified,” as a gift to the show. They received 

a standing ovation from the writers and producers, 

including Graham Yost, the multi-award 

winning writer and producer. 

Most recently, Cumberland River added 

the song to their debut album, Rock Island 

Express, and a version appears as a bonus 

track on their new album. Cumberland River’s 

“Justified” music video can be viewed at http:// 

cumberland-river.com. Contact Penni McDaniel 

at Hope River Entertainment, 770-367-1480. 

Embark Music has been selected to music 

supervise and provide music for The Fallbrook 

Film Festival in California. This full-length 

cinematic trailer has been delivered to UltraStar 

Cinemas. Derek Lefholz, owner of Embark 

Music, supervised the implementation of music 

provided by composer Don Spangler for the ambiance 

and overall theme of the trailer. 

No stranger to music supervision, Lefholz 

supervised the full-length feature film Life of 

Lemon, which was distributed by Filmworks 

Entertainment. Contact Derek Lefholz, derek@ 

embarkmusic.com or visit http://fallbrookfilm 

festival.com. 

Congrats to the critically acclaimed Muscle 

Shoals documentary that captivated audiences 

at the Sundance Film Festival and went on 

to screen at the George Lindsey UNA Film 

Festival at the University of North Alabama. 

The feature-length film, which was directed by 

Greg “Freddy” Camalier, traces the history of 

Muscle Shoals music through the people who 

created it including Gregg Allman, Bono, Jimmy 

Cliff, Mick Jagger, Alicia Keys, Aretha 

Franklin, Keith Richards, Percy Sledge and 

Steve Winwood. View the trailer here http:// 

youtube/kodhajb6uck. 

Don’t Pass Me By, the latest drama release 

from Infinity United Entertainment, showcases 

the latest single from Blue Pie acoustic 

soloist, Johnny Bennett, “Sail Boat.” The 

single is part of Bennett’s most recent compilation, 

The Violet Hush. See the video and more 

at http://youtube.com/user/theviolethush or 

http://johnny-bennett.com. 

Back Lot Records will release the soundtrack 

to Oblivion, Universal Pictures’ upcoming 

action-adventure starring Tom Cruise, on April 

9th. It features new music by Anthony Gonzalez 

of M83 and Joseph Trapanese (TRON: 

Uprising, The Raid: Redemption). The score 

features a hybrid of the traditional M83 electronic 

sound 

combined 

with sweeping 

orchestral elements. 

It has a 

brand new song 

by M83 featuring 

Norwegian 

singer-songwriter 

Susanne 

Sundfør, which 

is used as the 

end title for the 

film that opens 

across the country on April 19th. See http:// 

oblivionmovie.com. Contact Chandler Poling, 

chandler@whitebearpr.com. 

MICRO-BIO: In a 20-year career that includes extensive 

experience as an artist, producer and performer, Tom Kidd has 

promoted, marketed and developed Emmy- and Oscar-winning 

composers. He is President of Pres Pak Public Relations. 

Out Take 

FM Le Sieur 

Composer 

Email: c/o emilie@cw3pr.com 

Web: http://fmlesieur.com 

Most Recent: Being Human 

MONTREAL-BASED composer FM Le 

Sieur wasn’t scared about getting the 

job providing all the music for the North 

American version of Being Human on 

the Syfy network. By the time the call 

came, he had already provided music 

for seven scenes and had done a demo. 

Besides, he had already scored three 

previous supernatural films. It was obvious 

that Le Sieur knew his way around 

the unknown. “You have to be a fan of 

scoring,” he says. “You need to be sure 

you are a fan.” 

Three seasons into his position with 

Being Human, Le Sieur’s mix of modern 

and urban, darkness and humor has 

earned him a digital release of the music 

from Seasons 1 & 2. “When I have 

to choose a song from the album, I hear 

cues from the movie and little melodies 

that make the songs themselves,” he 

says of the project. 

Like many composers, Le Sieur first 

wanted to rock, though he always had 

a love for score. It was at a club gig 

that he met his first film producer. The 

producer liked what he heard and asked 

Le Sieur to score his film. The soon-tobe 

composer always did like to hang 

around with cinema people. 

Though some musicians might have 

trouble jumping from one genre to 

another, Le Sieur did not. As he says, 

“You have to be able to adapt oneself. 

That’s a big part of the job.” 

Le Sieur will next adapt himself to a 

different genre entirely, a police drama. 

As he completes work on Season 3 of 

Being Human, “I will start a cop show 

based in Paris,” he says. “As long as a 

project is exciting, I’m interested. Whatever 

the project, you do your best.” 


MARS HONORS MARLEY 

Bruno Mars led the tribute to Bob Marley at 55th Annual Grammy Awards. He ushered 

Sting, Rihanna, Damian Marley and Ziggy Marley to the stage for performances of “Locked 

Out of Heaven,” “Walking on the Moon” and “Could You Be Loved.” Mars sang through a 

Sennheiser SKM 2000 transmitter, coupled with an MMD 945-1 super-cardioid capsule. 

MIGUEL HEATS UP THE GRAMMYS 

Miguel warmed up his voice with vocal coach Lis Lewis before his smoking 

vocal performance at the Grammy Awards. He stole the show, singing his 

Grammy-winning track “Adorn.” After the performance, Billboard’s cover on 

the R&B singer boldly stated, “Who Really Won The Grammys.” The night before, 

Lewis and Miguel were see going through their paces for the Clive Davis 

party. For more on Lis Lewis, visit http://thesingersworkshop.com. 

KEVIN MAZUR/WIREIMAGE/GETTY IMAGES 

EVERY TIME I DIE AT THE ROXY 

Recently rolling through the Sunset Strip, Buffalo, NY’s Every Time I Die (ETID) 

are currently finishing up their US tour before heading overseas this summer. 

Along for the Hollywood ride were the Acacia Strain, Vanna, Hundredth and No 

Bragging Rights. Pictured is ETID frontman Keith Buckley. For tour dates, see 

http://everytimeidie.net. 

JOHN LURIE 

MC WRITER HANGS WITH QUINCY AT PLAYBOY MANSION 

The annual Playboy Jazz Festival press conference was held at the fabled 

Playboy Mansion in Beverly Hills, CA. Festival organizers, including Playboy 

founder Hugh Hefner, were on hand to reveal which performers will be headlining 

this year's event June 15-16 at the Hollywood Bowl. Pictured (l-r): MC 

writer Corey Irwin with the legendary Quincy Jones. For further details, visit 

http://playboyjazzfestival.com. 


—ANDY MESECHER andym@musicconnection.com 

RIMES WITH....? 

BMG Chrysalis hosted and cosponsored 

(along with the Guild 

of Music Supervisors) a private 

show by Grammy-winning, country 

star LeAnn Rimes in their L.A. 

office performance space, where 

Rimes featured selections from her 

forthcoming album, Spitfire, to an 

intimate industry crowd. The record 

is slated for this spring. Pictured 

(l-r): Jeff Jernigan, ASCAP, Film & 

TV; Rimes; Michael Todd, ASCAP, 

Film & TV; Darrell Brown, co-writer/ 

producer, Spitfire; Wendy Griffiths, 

BMG Chrysalis US, SVP Marketing. 

Celebrating 

36 Years 

1977–2013 

Tidbits From Our 

Tattered Past 

GREEN DAY, 

BACK IN THE 

SADDLE AGAIN 

Green Day are 

captured performing 

live in an 

intimate club gig 

to kick off their 

2013 tour at The 

Fox Theater in 

Pomona, CA. Billie 

Joe is clearly 

ecstatic to be 

back. 

SANTA 

BARBARA BOWL 

GOES GREEN 

Better World Energy 

founders, Seth 

Smigelski and John 

Smigelski, present 

Santa Barbara 

Bowl’s Executive 

Director Rick Boller 

with a certificate 

verifying a carbon 

offset amount of 

315,135 lbs. Pictured 

(l-r): Seth, John and 

Boller. 

CONNOR NEVER 

GAVE UP ON HIS 

DREAMS 

Legendary drummer 

Charles Connor––who put 

the “a-wop bop-a loomop, 

a-lop bam-boom” 

into Little Richard’s 

classic hits and on tours 

with James Brown, 

Sam Cooke, Lloyd Price 

many others––made an 

appearance at the recent 

book fair in Santa Monica, 

CA, where he signed 

copies of his inspirational 

book, Don't Give Up Your 

Dreams. For more details 

on Connor’s activities, 

visit http://legendary 

drummer.tv 

Kevin Estrada 

1981–Record Promo–#10 

Here's a vintage issue of Music 

Connection, loaded with page after 

page of golden nuggets such 

as an announcement about Ricky 

Nelson doing a benefit show at 

his alma mater Hollywood High 

School, or Johnny Rivers showing 

up at a Malibu bar to jam 

with Albert Lee. Feature stories 

focused on: Record Promoters 

who were working in the industry 

trenches to get songs on the 

radio; the controversial topic of 

tickery scalping; and the aftereffects 

of the collapse of the RSO 

record label. 

1996–Tracy Bonham–#1 

Bonham’s debut single, “Mother, 

Mother,” was making a big 

impact on MTV when MC got 

hold of her. She discussed 

her fledgling years, telling us 

that while living in Boston she 

“borrowed a lot of musicians” 

until “I finally decided to start a 

band where everybody could 

commit to me––and that's when 

deals started coming.” A feature, 

“Are Drugs Kiling the Music 

Industry,” offered comments 

from manager Ron Stone: “We 

had a horrible experience with 

Kurt Cobain, [and now] we have 

dropped four platinum acts that 

have done drugs.” 


Paramore shot onto the pop-punk 

scene in 2005. Since then, they 

have released three full-length records, 

been featured in major motion 

pictures and prominent video 

games (Twilight, Guitar Hero, 

Rock Band) and have been nominated for 

three Grammys. Rocking out of a Tennessee 

music scene often stereotyped for its country 

roots, Paramore’s first album All We Know 

Is Falling sold over 500,000 copies and the 

2007 follow-up Riot! surpassed 1.4 million 

sales… just in the US. However, just when 

Paramore began to enjoy the success of 

their 2009 release, Brand New Eyes, (which 

peaked at No. 2 on the Billboard 200), the 

Farro brothers, Josh and Zac, two founding 

members, gave notice. 

Fast forward to 2013. After a few years of 

soul-searching, meeting with various producers 

and redeveloping their songwriting style, 

singer Hayley Williams, bassist Jeremy Davis 

and guitarist Taylor York are fresh off SXSW 

and amping up to release PARAMORE. 

For this exclusive article, Williams took 

a break to discuss the new record, world 

tours, how Paramore overcame what initially 

seemed like a fatal blow and what the newly 

recast power-trio have in store for 2013. 

Music Connection: So you’re in Malaysia right 

now, heading to Australia for the Soundwave 

festival. What’s the biggest difference between 

an Australian festival and one in the States? 

Hayley Williams: Anytime we do festivals 

outside of the States, they are a lot more metal. 

We always end up being the “pop band” on the 

metal bill, unlike the States where we may fit in 

a little more. Sometimes we’re even the heaviest 

band [in the US], which is really weird. 

MC: Do you enjoy being the odd ones out? 

Williams: I like it. I enjoy having something to 

prove. I think sometimes I go off just a little bit 

harder at festivals that are more testosterone 

filled, saying, “Yeah, I’m gonna prove that 

we’re not just the chick band!” (laughs). It’s 

weird, but we have a really good time at these 

festivals. We were playing a festival one time 

in Europe and I looked over to the side stage 

and saw Tom Morello. I thought, “What is 

happening?! This would never happen to us 

in the States!” 

MC: Does the crowd respond well to you in that 

situation? 

Williams: Lucky for us, we do okay no matter 

the billing. When we first started, we would 

get a lot of hecklers, a lot of older guys. Then 

I learned to heckle back. I learned that the 

microphone is power and I can use that [to my 

advantage]. I go out, have a good time and [if 

someone] walks away loving us, that feels like a 

win, even if it’s just one person. 

MC: Let’s talk production. Why did you go with 

Justin Meldal-Johnsen (M83, Neon Trees) to 

produce the new record? 

mo par 

PARAMORE 

By Andy Mesecher 


Williams: We met with a lot of producers this 

time around, which is not something we’ve 

been through before. After being gone for two 

years, there were times where I wondered, “Are 

people going to forget about us? Do we matter? 

Is what I have to say as a writer even relevant?” 

And when we met with all the producers, 

everyone seemed really interested in what we 

wanted to do next. 

MC: But Justin just stood out? 

Williams: Justin was one of the first guys we 

met, and we just couldn’t get the things that 

he said out of our heads. He was so excited 

about what we could do and the possibilities of 

our future and how we could shift and shape 

into a new band. Hearing that and seeing his 

background and how versatile he is as an artist; 

it was cool to hear someone like him have a lot 

of faith in the next chapter of Paramore without 

even hearing or seeing it yet. 

MC: Along with Meldal-Johnsen, you brought in 

Ilan Rubin (Lost Prophets, Angels & Airwaves, 

NIN) on drums? 

Williams: Yup. He’s pretty much the only guy 

outside of the band. I mean, we let Justin do 

some stuff on keys because he’s just crazy 

talented with sounds and sound design. I 

played some keyboards. Carlos [de la Garza], 

our engineer, did some percussion. It was really 

fun. Everyone involved with the record, even 

the studio musicians, felt very collaborative. It 

felt like everyone was a part of it. 

MC: Did anyone else participate? 

re a- 

Williams: Ken Andrews came in and did some 

mixing and he ended up singing a background 

part. We had Roger Manning Jr. write a string 

arrangement. … Everyone who got involved 

went all-in. It was cool. We’d never been open 

to that before, to be honest. With the last 

record we thought the band was going to fall 

apart so we were just in and out of the studio 

every day trying to finish what we had to finish. 

This was not that experience at all. I came in 

every morning not knowing what was going to 

happen, and by the end of the day I was so 

surprised by what we were capable of, stuff 

that we’d never tapped into before. 

MC: Many of our readers, who are also session 

musicians, may not be well-versed in how to get 

asked into the studio with a band like Paramore. 

How do you choose your talent? 

Williams: First of all, we’re not very well-versed 

in recording with Paramore either (laughs). This 

is our first experience as a three-piece and going 

into the studio and writing songs together. 

Taylor blew everyone away. He demoed out 

all these songs—I was there for vocals and 

Jeremy came in for bass parts. But [Taylor] was 

so good with sounds and had such a vision for 

each song that it really made it easy for [our 

producer] Justin. There was already a good 

[foundation] for when we brought Justin in. 

Hearing the versatility in the songs that we 

had written, Justin brought up Ilan’s name and 

explained his level of talent and that he was 

young like us. So when we did pre-pro with him 

he [quickly] picked up on everything. He did 

such a good job just laying down feeling and 

emotion. I don’t think the songs would sound 

the same if it weren’t Ilan playing them. 

Other than that, we had all the tools we 

needed in our tight-knit team: Carlos and Justin 

were great for the things Me, Jeremy and Taylor 

couldn’t do. They were there and have so much 

experience and knowledge to pour out over us. 

We learned a ton every day. 


MC: Do you have any advice for bands that 

may have to experience what you did with the 

departure of the Farro brothers? 

Williams: Sometimes you really need to go 

through the one thing you don’t want to go 

through. I never in a million years would have 

ever said that I wanted to be in a band with 

only Jeremy and Taylor. I’ve said in interviews 

before, “The only drummer I ever want to sing 

over is Zac Farro.” It’s crazy when I wake up 

and we go to the venue and it’s just the three of 

us. But I have to say, that after two-and-a-half 

years of doing it this way, there is no other way 

that it should be or could be. It’s exactly the way 

it’s supposed to be. 

You have to let life happen. You’re in a band 

and you want to be an artist who expresses 

thought and feeling, but you’re not going to 

have anything to express if you don’t go through 

those struggles and that normal life stuff. Losing 

two band members is not an abnormal thing; 

it’s the same thing as losing two friends when 

moving away to college or moving into the real 

world… it’s just life. We had to let it happen. If 

not, Taylor wouldn’t have stepped up into this 

primary songwriter role. He’s told me before that 

he was scared to death. But it was a push that 

he needed, and now he’s an artist who no one 

could have ever predicted he would be. You 

gotta accept it. It definitely hurts, but that makes 

great art. 

MC: Speaking of new songwriting, “Ain’t It Fun” 

off the upcoming record showcases a fresh kind 

of soulful choir vocals, unlike the pop-punk chant 

style we’ve heard in previous Paramore records. 

Williams: That song came together in such 

a cool way. Taylor wrote the first two guitarkeyboard 

bars. I walked into his hotel room and 

he had his computer with speakers set up on FIJI 

water bottles and I heard this thing playing and 

I said, “What is this? It’s so cool!” He was just 

trying some sounds for himself and I told him, 

“No, this is a Paramore song. We have to write 

to this!” 

Just being open and letting the song take us 

where it wanted to go, by the end of that night, I 

was tracking some vocals in Taylor’s room and 

I said, “You sing it with me. Let’s just pretend 

we’re a choir,” as if by some chance we would 

actually get a choir on the record… We didn’t 

really think it was going to happen, and then six 

months later we’re at Sunset Sound [Studios] 

with a legit gospel choir from L.A. who are just 

wailing on this song. I felt like I was in some 

sort of Mariah Carey Christmas track. It was so 

good. I grew up on that kind of stuff. It was my 

favorite day in the studio. I’m really excited for 

people to hear that one. 

MC: They will hear it soon enough, and most 

likely on Rdio or Spotify. How do you feel about 

the industry shift into streaming music services? 

Williams: I am one of those people in the stone 

ages. I like buying music. I don’t even think twice 

about it. Taylor and Jeremy are really into Spotify. 

It’s just something that I haven’t committed to 

yet. I’ve messed around and made little playlists 

on Rdio before, but it’s just not my vibe yet. 

[But] I don’t think [music streaming is] killing 

the industry—the industry’s been under attack 

since I was 12 years old when I was downloading 

Kazaa on my computer. I feel like music 

fans are going to get music however they want, 

and as long as people are coming out to shows 

l-r: Hayley Williams, Taylor York, Jeremy Davis 

mo pa 

IN AN INTERVIEW with HitQuarters, 

Paramore’s A&R rep at Atlantic Records, 

Steve Robertson, explained that they didn’t 

give All We Know Is Falling a major radio 

promotional push. He believed the band’s 

reputation should grow organically through 

word of mouth. In his words, Robertson 

“wanted kids to discover the band without 

it being shoved down their throats.” 

The band covered “My Hero” by the 

Foo Fighters for the Sound of Superman 

soundtrack. 

Paramore’s music has been featured 

in video games The Sims 2, Rock Band, 

Guitar Hero, Saints Row 2 and EA Sports 

NHL 08. 


I don’t really care if they’re streaming it for free, 

for a penny, I don’t really care what it is… I just 

want people to come out to the show and know 

the words and sing along! 

MC: Well, you have the “Singles Club.” Is that 

Paramore’s battle against iTunes? 

Williams: We’ve never been one of those artists 

that don’t put our album up on iTunes for 

10 years and then you do it and it explodes… 

I’ve seen artists do that and I’ve wondered, is 

that genius? Is it stupid? I don’t know! With the 

Singles Club we wanted to do something that 

would go straight to our fans. We didn’t want 

all the hype. We didn’t want all the press about 

it. We just wanted something that said, “This is 

where we are right now, life is kind of sucking at 

the moment and these are the songs that came 

out of it.” 

MC: Sounds like a perfect outlet for you. 

Williams: We needed the Singles Club. It sort of 

fueled our fire. We were feeling a lot of different 

things [after the departure of Josh and Zac Farro] 

and we needed to prove to ourselves that we 

could remain Paramore. And I’d like to do more 

of that, honestly. Taylor is a super gearhead so 

we’re going to use all of his stuff and experiment 

a lot and enjoy our free time just making music. 

I don’t want to get into that place where we don’t 

write between records anymore. I want to keep 

producing new music for our fans and some of it 

will be on iTunes and some of it won’t. 

MC: You’re no stranger to collaboration 

(mewithoutYOU, Set Your Goals, New Found 

Glory). We know you teamed up with B.o.B 

a couple years ago on his track “Airplanes,” 

which sold over 138,000 copies in its first week. 

A few years ago, Lupe Fiasco spoke with MC 

and shed some light on how forced the hip-hop 

collaborations are these days. How did your 

successful song come together? 

Williams: We were playing a show at Hammerstein 

Ballroom in New York and Jeremy 

from Atlantic Records, who had just started 

working with B.o.B, came to me and said, “You 

would be so perfect on this song. We really 

need someone to do it.” I put it on and the guys 

[in the band] said, “You have to do this! This is 

such a cool song.” 

And yeah, I pretty much did the chorus without 

meeting B.o.B. Me and B.o.B didn’t meet 

until the VMAs after the song had blown up. It 

was crazy, but I am so thankful for it because 

I’m not one of those artists who feels comfortable 

going into a room with people I’ve never 

met and just writing. I know what Lupe is talking 

about, I know that vibe and how disconnected it 

can be, but in this case it actually brought Paramore 

and B.o.B together. We ended up doing a 

tour with him after that. He’s one of our greatest 

friends. He goes and visits Jeremy and stays at 

his house with Jeremy and his wife. It’s cool. 

That song brought two artists together who 

never would have met—and probably never 

would have crossed paths—and it was awesome. 

I hope to do more things like that. I write 

Paramore songs. I don’t really write for other 

people, at least I haven’t yet. So it would be 

cool to meet other artists and have it do what it 

did for us and B.o.B. 

Contact christina.kotsamanidis@ 

atlanticrecords.com 

rare 

QUICK FACTS 

The band’s upcoming self-titled (and 

fourth full-length) will be the first major release 

without brothers Zac and Josh Farro. 

The Franklin, TN natives have three 

Grammy nominations (Best New Artist 

2008, Best Song Written for Visual Media 

[Twilight], Best Pop Performance by a Duo 

or Group with Vocals 2011). Hayley Williams 

has been the recipient of various individual 

trophies including the Fashionista 

Award (Los Premios, MTV Latinoamérica) 

and Tweeter of the Year, Kerrang! 

B.o.B’s track “Airplanes,” featuring Hayley 

Williams, went 4x Platinum in the US, 

3x Platinum in Australia, 2x Platinum in 

Canada and Platinum in New Zealand. 

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April 2013 www.musicconnection.com 41 

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Guitar & Bass Jam 2013 

BY OSCAR JORDAN 

EACH YEAR AT THIS TIME Music Connection sits down with a select crew of guitarists and 

bassists to present them with a series of questions focusing on topics that all players can sink their 

picks into. This year’s group of five acclaimed musicians are Orianthi Panagaris (Alice Cooper, 

Michael Jackson), P-Funk’s Lige Curry, Sevendust’s Clint Lowery, Vintage Trouble’s Nalle Colt and 

the legendary Mountain man, Leslie West. While each represents a different style and discipline, all 

are equally passionate about what they do and how they’ve worked to develop their gifts. 


Leslie West 

Mountain 

Contact: Steve Karas, skaras@skhmusic.com 

BLUES-ROCK ICON Leslie West has seen it 

all, from jamming with Jimi Hendrix, reaching 

the heights of fame with his band Mountain, 

to losing his right leg to diabetes. Famous for 

his hit “Mississippi Queen,” West continues 

to move forward, having recorded The Usual 

Suspects with Slash, Zakk Wylde and Billy 

Gibbons in 2011. West is currently in the studio 

recording a new album. 

What have you done in the past year to 

become a better musician? 

I’m constantly working on my sound. 

If you play enough, you’re going to 

sound and play better. I lost my right 

leg about a year and a half ago. I 

haven’t gotten use to my prosthetic, 

so I can’t stand and play guitar. 

It’s a whole new world for me, 

playing and sitting. 

I bring my guitar to rehab. I’ll 

be standing with parallel bars 

and wearing the guitar to see 

how my balance is with the 

prosthetic. It’s not too good. I 

concentrate on other things, 

like working on my sound and 

the Leslie West signaturemodel 

guitars I have with Dean 

Guitars. 

Tell us about your gear endorsement 

with them. 

Elliott Rubinson, the president of 

Dean Guitars, is a really great guy. 

They make a quality product and I’m 

really proud of the guitar they made for 

me. My signature model for Blackstar will 

be a 30-watt practice amp. It’s a great sounding 

smaller amp and the tone is great. 

What do you notice when you hear a recording 

of yourself from five or 10 years ago? 

I used to smoke pot, so I don’t hear that 

anymore in my voice. When you play it’s like 

talking, where you’re throwing your voice. When 

you hear something come back at you, your 

ears catch it and it sounds different. Sometimes 

you say, “That doesn’t sound like me.” But it is. 

I now try to listen to what it sounds like during 

playback, because that’s what really counts. 

Have you added any gear that has changed 

your sound or style? 

Since I only have a left leg now, my pedals are 

limited. That’s why my Blackstar Series One 

100-watt amp works so good. I don’t use any 

distortion or overdrive pedals. The amp itself 

has a clean, a heavier clean, a dirty and a real 

dirty. It’s one pedal with four buttons. I use a TC 

Electronic Flashback Delay and a MXR Slash 

Octave Fuzz. 

Tell us about your guitar roadie. 

Mark Webber doesn’t play guitar but he’s good 

at setting them up. He’s very loyal and good 

at certain things, but he cannot play the damn 

guitar. In fact I don’t let him play guitar when he 

checks them out. I tell him, “Don’t play a chord. 

I don’t want anyone to think it’s me.” He’s a 

good guy and he’s honest. 

Do you have a mentor? 

Early on, Eric Clapton without a doubt. The tone 

he had was right out of the Marshall. His vibrato 

is what I tried to work on and still work on every 

day. I want it to sound like a first-chair violin in 

an orchestra. 

What is your most underappreciated quality? 

I work really hard on my tone. I want it to be velvet. 

What’s your worst onstage mishap? 

We were playing The Beacon Theatre with Dio. 

One of the idiots from the promotion department 

tried to come on stage. He tripped over 

the wiring for my amps. I had three stacks on 

stage and the whole rig came crashing down. 

Luckily it didn’t kill me. They were still on and 

plugged in, so I just played right through. 

Nalle Colt 

Vintage Trouble 

Contact: Brenna Sexton, brenna@bighassle.com 

SWEDISH GUITAR wizard Nalle Colt has been 

on a roll since joining the band Vintage Trouble, 

who’ve been wowing fans with a unique blend 

of soul, rock and R&B. Their album, The Bomb 

Shelter Sessions, has exploded, landed them 

a guest appearance on Late Night With David 

Letterman, and sent the group around the world 

in support of the Who. 



Just playing so much. We’ve been constantly 

touring. The thing for me is to be in the moment 

as much as possible. I want to really live in the 

music and not think about anything else when I 

perform live. I really think I’ve learned to find my 

moment and just shut everything else off. 



I’m a little bit of a critical guy. I listen back to it 

and I say, “Oh, I wish I had done that better.” 

Sometimes when I listen back to things that 

were a long time ago, I’m surprised. It usually 

surprises me that it’s better than I thought it 

was. It’s always fun to go back. It’s like reading 

your old journals. 

Have you added any gear that has 

changed your sound or style? 

First of all, the guitar. I used to be 

a Fender Strat man for so many 

years. But when we started Vintage 

Trouble I borrowed a Gibson 

Les Paul and I had never really 

played Gibson guitars. That 

was the first thing I changed. I 

wanted to do something different. 

The Les Paul was what 

I brought in, playing through 

an old tweed amp. It’s a very 

specific sound. 

What can you tell us about 

your guitar roadie? 

When we started the tour 

with the Who, I really needed 

somebody who could work with 

guitars. Jeff Crawford was the 

guy, but he had to go back to his 

old job, working with Darius Rucker, 

so we just got a new guy. It’s a very 

important job, especially when you’re 

touring this much and dealing with different 

weather every day. Guitars are sensitive 

instruments and it’s hard to keep them up. Jeff 

was great, and I’m sad to see him leave. 


My true mentor in life is my grandmother. She 

was a concert piano player. I grew up with 

her mindset of life in general. As far as guitar 

players, Jimmy Page has always been a big 

influence. 


I do a lot of artwork. I love working with graphics 

outside of music. I do all the graphics for the 

band. All the artwork that you see from Vintage 

Trouble, with logos, styles and websites, that’s 

me. 


We had just started touring with Brian May from 

Queen, playing in this beautiful old theater in 

England. I had a moment where it featured me 

doing a guitar solo and suddenly the cord just 

died. I didn’t have a guitar tech, but the guy who 

helped Brian May ran out and saved me. 

Tell us about your gear endorsements. 

The main one is Lazy J amps from England. 

They’re a bit of a clone of a ‘58 Fender Tweed 

Deluxe. It’s a very simple amp with just volume 

and tone. I’m very proud of them and I use 

them all the time. 


Clint Lowery 

Sevendust 

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

GUITARIST Clint Lowery is a key architect in 

designing the sound of the melodic metal band 

Sevendust. The new album Black Out The Sun 

is their most intense recording to date. Lowery’s 

guitar style features staccato rhythmic bursts 

and soaring solos. A texturalist as well as a 

groove player, Lowery not only handles guitar 

duties, he co-writes, arranges and contributes 

vocally. 



I’ve gone back to the basics, just woodshedding. 

I’ve been practicing a lot and doing exercises, 

working on my legato, finger picking and 

anything I’m weak in, like slide guitar playing. I 

just try to designate an hour or so a day to work 

on it so I can be a better all-around player. 



I notice the influences of what was going on 

at the time. I can hear certain things that I was 

listening to by the riffs I’m playing, and what 

kind of effects I’m using. 



I haven’t. I’m boring. I change guitars for the 

most part, but everything else, nothing. I’m 

going to revamp my rig pretty soon. I wanna 

get a better clean channel, and I want to get a 

multi-amp thing going. I want to blend my EVH 

100-watt head with something else to get a 

wider sound. 


I have a new guy coming in who’s worked with 

a bunch of people, like Slash, Pink and Anthrax. 

I’m excited to work with him. Sevendust has 

been off for a while, so I didn’t really sustain the 

same guy I had before. The new guy is really 

good. He’s a technical guy who knows everything 

about the gear aspect. I’m not a gearhead. 

I need that yin and yang. I need someone who 

can sort out everything, or any kind of problem 

solving that needs to happen. 


My dad. As far as natural feel and guitar playing, 

he was my mentor. Steve Vai is someone 

I look up to as far as a guy who mastered the 

guitar. He’s comfortable with a guitar in his 

hands. Steve Vai is pretty much the man. 


My soloing. I don’t ever really get the chance 

to really tee off on guitar solos. I can tear up 

a fretboard if you give me the opportunity. I 

don’t think people realize that I come from that 

old-school mentality of playing. I grew up with 

Yngwie, Paul Gilbert, Steve Vai and Dimebag 

Darrell. That’s the school I come from. 


I’ve played with many a stomach virus where I 

have thrown up or shit in my pants. I’ve done a 

lot of that over the years. I’ve had gear that has 

gone down for an entire set. We’ve played for 

15 years so there’s going to be a lot of mishaps. 

It’s hard to remember them all. 


I have a deal with PRS Guitars. I have a signature 

model. We also have a deal with EVH 

amps. We’re obviously big fans of Eddie Van 

Halen. The whole camp over there is really 

cool. We’re also with Ernie Ball Strings, but obviously 

pretty loyal to PRS. They’ve been with 

me for a long time. 

Lige Curry 

Parliament Funkadelic 

Contact: danielsiwek@roadrunner.com 

LIGE CURRY has been laying down the deep 

pocket bass lines for George Clinton’s Parliament 

Funkadelic for the past 30 years. Following 

in the footsteps of such P-Funk bass icons 

as Rodney “Skeet” Curtis, Cordell “Boogie” 

Mosson, William “Billy Bass” Nelson and Bootsy 

Collins, Curry has kept the funk alive and upheld 

the refrain, “One nation under a groove.” 



What I did the most that I’m still trying to learn 

how to do is listen. Whether it’s live or in the 

studio, the key is listening. I pay more attention 

and remind myself to remember to pay attention. 

I would be nothing if I didn’t know how to 

listen. I’ve gotten better not only at hearing what 

people are playing, but what people are saying. 



Five years ago I was playing a lot more tense 

than I am now. It was due to my hands and 

arms hurting. What I did was reposition the 

strap on my bass. Now I play with my plucking 

hand extended, instead of up like a bow. A 

lot of bass players play high on their chests or 

on their stomach so they can dig in. I went the 

opposite way. Now I don’t have as much pain in 

my forearm and wrist. 



The last addition was a MXR Bass Envelope 

Filter. I came after Bootsy Collins, so he laid 

down the law with his Mu-tron III. George 

Clinton has this thing were he says, “Play it like 

the record!” I added the Bass Envelope Filter. 

It’s not a Mu-tron III, but it’s so small and gets 

so many different tones. Rather than me carry a 

pedal board, I’d rather take this pedal. 

Tell us about your roadie. 

I do everything myself. We have a drum tech 

and a stage manager who can tune guitars. I 

have two personal guys that I use on my thing 

who I love to death. George Clinton doesn’t 

have the kind of shows that require a lot of tech 

stuff going on. I like changing my own strings. 


Larry Graham and rock cats like Chris Squire. I 

was a big fan of Ray Brown; he use to play on 

The Merv Griffin Show. Within my own camp I 

was a huge fan of all the bass players that I got 


a chance to follow—also Stanley Clarke and 

Jaco Pastorius. The bass player who inspired 

me the most was Jermaine Jackson. 


My songwriting, but that’s getting ready to 

change. 


If the bass goes out at anytime, it’s critical. It’s 

like the bottom falling out. Everybody turns 

around and looks at you. At one show, it must 

have taken 20 or 30 minutes for the techs to 

repair my amp. It was the most embarrassing 

thing in my life. They ended up having to get a 

whole other rig. 


I use Reunion Blues for gig bags and I love those 

people. I’ve had an endorsement with Mesa 

Boogie for about seven years now. If Paul Mc- 

Cartney can have a Mesa Boogie amp, then Lige 

Curry can have one. I really admire the company 

and the representatives at Mesa Boogie. I’ve 

been buying D’Addario strings since I was a kid, 

and I use them to this day. I’m happy. 

Orianthi 

The Alice Cooper Band 

Contact: Karen Webb, karen@prsquaredpr.com 

GUITAR PHENOMENON Orianthi Panagaris’ 

impressive career includes having shared the 

stage with Carlos Santana, Steve Vai and 

Michael Jackson. She’s the guitarist in Alice 

Cooper’s band and a pop star in her own right 

with her debut single, “According To You.” 

This Aussie of Greek heritage just completed 

Heaven In This Hell, a feisty blues-rock tour 

de force full of ballsy guitar, Nashville vibe and 

radio-friendly accessibility. 



I’ve been on tour with Alice Cooper. That definitely 

makes you a better musician. There are so 

many songs to learn and so many parts to learn. 

I also get to play with two other guitar players. 

That has definitely helped to make me a better 

player. 



Every year I’m picking up different things and 

playing with different people. I notice that 10 

years ago I was listening to more ‘80s guitar 

players and instrumental music. That was when 

I made my first demo at home. Now I’m into 

more rock music with singing and blues. My 

vibrato has gotten better. 



I’m using a Digitech Whammy Pedal, a Boss 

Octave pedal and a Fuzz Face. I really like that 

combination where it sounds like the bass is 

playing with you. It’s a monstrous sound. I used 

it a lot on my new record for the songs “Frozen,” 

“Heaven In This Hell” and “Filthy Blues.” 


When I’m on tour with Alice Cooper I have 

Brian. He takes care of my babies on the road. 

Traveling really wears on guitars, with temperature 

changes and whatnot. If it doesn’t feel right, 

it really affects your playing. They work hard 

and I really appreciate having a tech. 


Steve Vai. I recorded with him when I was 15. 

He stayed in contact with me via email until I 

came to the States. I would send him demos 

and he would write back to me and tell me 

which parts were good and which parts could 

be better. He really paid attention. He’s an 

incredible guitar player, but also a great person. 


When my first single came out, people got the 

impression that I was this product or something. 

I’ve been playing the blues since I was 11. I 

spend a lot of time creating music and being 

real, so I think the blues and the rock elements 

are more upfront with this album. I see myself 

more as an artist than a guitar player. 


I’m here [in the US] because of Paul Reed 

Smith. He invited me to play the NAMM show. 

I played a show one night with Santana. An 

A&R guy was in the audience and that’s how I 

got signed. Not only is Paul an incredible guitar 

player and guitar maker, he’s been such a big 

supporter. I’m really happy with their guitars. 


My bass player got the tuning pegs in his headstock 

caught in my hair. There were 10,000 

people in the audience. The guitar tech had to 

come to our rescue. This went on for half the 

song. Everybody was laughing in the front row. 

It was very Spinal Tap and ridiculous. I was like, 

“It’s all entertainment!” 


1 

8 

@ 

2 

7 

3 

6 

4 5 


MUSIC 

@ SXSW 

MC sent a team out to Austin, TX for three things: Music Expo, live shows and sweet Southern BBQ. 

Here is a photo recap of South By Southwest 2013. Additional photos can be seen at http://jodydomingue.com. 

1. Shaky Graves 2. Lissie 3. A furry friend howling for cash 4. An unknown busker on break 

5. Cold War Kids' Nathan Willett and Matt Maust prepping for MC video interview 

6. Cross Faith 7. Paramore 8. The Skins 9. The Staves 10. MC Associate Editor 

Andy Mesecher interviewing Josh Baze 11. The Wheeler Brothers 12. Toro y Moi 

CONECTION 

13. Adrian Grenier with special guest 14. Dawes joining John Fogerty onstage 

 

 

14 

9 

13 

10 11 12 


—BRETT BUSH 

MondoTunes 

Upstart Distribution Service “By Musicians for Musicians” 

In the cluttered area 

of artist services now 

available via digital 

downloads, social 

networking, electronic 

marketing and even 

physical distribution, 

it can be confusing to 

choose who to pay to get 

your music out, and how 

much value you’ll receive. 

MondoTunes was created 

to streamline the options. 

The company was cofounded 

in 2011 by Javan 

Mershad and his associates, 

who set out to create a service 

“by musicians, for musicians.” 

The primary service it offers is 

a vast international distribution 

system. Artists pay a one-time 

fee to have their single, EP, 

album or video distributed via 

MondoTunes, and artists retain 

100 percent of their royalties 

and rights. MondoTunes 

distributes the recordings to 

more than 750 online retailers 

including iTunes and Amazon. 

The one-time fee (starting at 

$7.99 for a single, $37.99 for 

an LP) is a unique approach 

compared to other online 

distributers, which typically 

charge additional monthly or 

annual fees. MondoTunes also 

offers the option of creating 

your own label for $39.99. 

“We bought stock in the 

idea that with technology these days, artists have so much material 

available,” says Mershad, “and don’t necessarily have the 

recording and rehearsal fees of a few years ago. This is a 

great, affordable way for artists to try out their music. 

We count on making a profit with repeat business.” 

According to Mershad, the company currently 

represents thousands of artist projects, from 

up-and-coming artists to established artists 

including former Pussycat Doll Kaya Jones 

and Jim Sonefeld of Hootie and the 

Blowfish. 

Mershad’s background is as 

an artist, producer and writer who 

performed with a touring band for 

several years. “We never really broke,” 

he says. During that experience, 

however, he became more interested in 

the business and distribution side of the 

industry and decided to create 

an affordable, simple way 

for music to be distributed. “I 

developed many relationships 

with Amazon and others that 

artists can’t always approach 

directly.” 

Based in Southern 

California, MondoTunes can 

offer such low fees by keeping 

its own overhead low. “We 

do everything in-house,” 

says Mershad, “with a staff 

of six that we plan to expand 

to 10.” The company has 

built a strong word-of-mouth 

business, in addition to repeat 

business. “We did a lot of 

research on the keywords 

musicians typically use when 

researching services, and we 

talked to a lot of musicians, 

and most of us involved with 

the company are musicians, 

so we know what artists are 

looking for.” 

The company’s efforts 

to create a true “music 

service” extends to an 

available marketing package 

that includes creating and 

distributing press releases, 

electronic press kits, 

international blog posting and 

monitoring, and mastering 

services. MondoTunes 

also has relationships with 

music supervisors and 

clearinghouses seeking music 

for television and movies. 

Future plans include helping 

artists reclaim past royalties, 

and to expand their licensing 

and publishing services. 

Clients represent all 

popular genres, including 

alternative, rock, pop, urban, 

country, children’s music and 

R&B. “We also offer the opportunity for artists to redistribute back 

catalog tracks. Some of our clients are established artists who no 

longer have record deals.” 

The fees taken by the retail partners are the only 

fees from sales that the artist will not receive. 

Typically, a retail single download sells for 99 

cents, with the retailer taking its (varying) 

percentage. The rest of the sale price goes 

to MondoTunes, where it is distributed to the 

artist on a quarterly basis, complete with 

detailed statements of sales. Mershad 

notes that artists often see more of a 

return on international sales. 

“We want to create a culture that truly 

serves the artist,” says Mershad. “The 

rest of it will fall into place.” 

“Most of us involved with the 

company are musicians, so we 

know what artists are looking for.” 

Visit http://mondotunes.com 


Since 1939... 

...we’ve been your onestop 

source for media 

manufacturing, and we’re 

still the oldest and largest 

VINYL, CD & DVD 

manufacturer. 

 

 

 

 

 

 

www.rainborecords.com 

8960 Eton Ave., 

Canoga Park, CA 91304 

(818) 280-1100 Fax: (818) 280-1101 

info@rainborecords.com 

January 2013 www.musicconnection.com 49

— ANDY KAUFMANN 

Talib Kweli 

Since breaking onto the stage with Black Star, the duo he 

formed with Mos Def in the late ‘90s, Talib Kweli Greene’s 

career has floated somewhere between superstar popularity 

and indie artist with impeccable street cred. It’s a tension 

the Brooklyn-raised rapper acknowledges. “My place in this 

business was an inspiration for this album,” he insists regarding 

his latest release, Prisoner of Conscious, due May 7th 

and featuring appearances by Busta Rhymes, Nelly 

and Kendrick Lamar. “But I’m more about creating 

an industry around myself than I am worried 

about where my place is in this industry.” 

That independent spirit led to the formation 

of Javotti Media. Prisoner was originally going 

to be released on Blacksmith Records, the 

label launched by his former manager, Corey 

Smyth. “It became apparent I needed to exert 

complete control over the way my project was 

run,” he claims. “The only person you can 

depend on sometimes is yourself, so I made 

the decision toward the end of recording to do it 

on my own label.” 

Although he isn’t actively seeking artists, 

two other performers are associated with 

Javotti. Houston’s Corey Mo teamed up with 

Kweli on joints like “Getting to the Money,” 

while R&B singer Res piqued his attention with 

tracks sent via Myspace. Together, Kweli and 

Res formed Idle Warship. 

The arrangement resembles a mentorship 

more than a traditional label deal. “I’ve 

developed a knowledge of the 

landscape that is invaluable for 

artists,” insists Kweli. “So 

when I have an artist that’s 

talented and works hard, 

I’m inclined to help 

them out.” This year, 

Kweli brought 

both Res and 

Mo on tour. 

Incidentally, 

touring is something Kweli declares key to his success, logging between 

200 and 250 shows a year. “I’ve approached touring just like a rock band 

would,” he reveals, encouraging new rappers to do the same. 

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

perform,” he continues. “A record might work in the club, but it doesn’t 

mean that artist can deliver outside of a night club scenario. You 

have artists getting paid to Milli Vanilli over their record. It 

cripples the hip-hop artist from being able to perform live. 

And the tragedy is the only way anyone is investing 

money in a hip-hop record is if they’re making a 

record about a night club experience.” 

The value behind certain tours has also 

changed, he explains, pointing to the Rock the 

Bells and Paid Dues tours as examples. “I’ve 

been doing Rock the Bells for years, because 

my records have always come out through the 

major label system. But the indie artists are 

now the ones who people are excited about. 

These guys are performing on Paid Dues. 

Now that I’m not on a major, I’m on Paid Dues. 

Normally, that would sound like a step backwards, 

but Paid Dues is really the stage I want to perform 

on, because it’s where all the artists that people are 

excited about are performing.” 

And it isn’t just touring that has shifted. The very 

nature of communal affiliation has transformed. 

“When I started, there was a community,” he 

reminisces. “You had to go to Washington Square 

Park, you’d kick your little raps. Now, those 

communities exist but they exist online. 

Find out who is making the type of music 

you like,” he suggests, “and bounce 

ideas off each other. No one does 

this alone.” 

Contact Carla Senft / 

Press Here, 212- 

246-2640, carla@ 

pressherepublicity. 

com 

“Part of the problem with 

hip-hop is that people don’t 

know how to perform.” 



Meeting of Important People 

My Ears Are Having a Heart Attack 

Authentik Artists 

Producer: Brian Deck 

 

Now that Ween have broken up, there’s 

a hole where quirky, heartfelt rock once 

ruled the underground. Pennsylvania’s 

Meeting of Important People goes just 

part way toward filling that void. Neither 

hitting listeners with awe-inspiring 

instrumental bridges nor gut-busting 

emotional crescendos, their forte remains 

delectable beats paved with wry, 

expertly constructed lyrics. This third 

effort comes stuffed with savory tunes 

and masks a delicate complexity that’s 

irresistible. Here’s a trio that can rock 

with the best, yet are equally comfortable 

putting the wild shtick on ice and focusing, 

instead, on well-crafted, mellow 

numbers that emphasize their inherent 

likability factor. If only more acts could 

do the same. —Andy Kaufmann 

The Strokes 

Comedown Machine 

RCA/ Sony Music 

Producer: Gus Oberg 

 

The Strokes are like heroin—the first 

few times you hear them, it’s the best 

thing you have ever experienced, and 

then that feeling wears off. You try to get 

some more, but it never has the same 

effect. The title of this LP may refer to 

that, however, they have a new strain. 

After doing the requisite solo efforts, 

the crew got back together to create a 

terrific bunch of songs. There is a bit 

more straightforward rhythm on this 

effort, in songs including “Tap Out,” but 

guitar-driven songs such as “Partners 

in Crime” are not only pure Strokes, 

they demonstrate a true evolution of the 

band. It is a fresh bunch of tunes that 

still remain true to the original sound 

the Strokes created way back in the 

‘00s. This is it! —Fuchsia Black 

Harper Simon 

Division Street 

Tulsi Records / [PIAS] America 

Producer: Tom Rothrock 

 

Simon has traded in his country-folk 

flavored methodology for a more rough 

and tumble approach. Despite claims of 

emulating the Rolling Stones and Velvet 

Underground, these arrangements only 

sporadically serve up that level of soulshattering 

impact, which still impresses. 

What they consistently deliver, instead, is 

a persistent ethereal quality that nestles 

underneath a crispy coating of rock & 

roll hum. His feel is dazzling, yet Simon’s 

sound doesn’t push past expectations. 

The disc’s worth inspecting for the sparkling 

menagerie of fellow travelers he’s 

enlisted, which includes Feist’s musical 

director, Elvis Costello’s drummer, the 

bassist for the Strokes, Wilco’s keyboardist 

and Bright Eyes’ Nate Walcott. Pretty 

boss. 

—Andy Kaufmann 

Bilal 

A Love Surreal 

eOne Records 

Producers: Conley “Tone” Whitfield, Mike 

Severson & Corey, Shafiq Husayn, Steve Mckie 

 

Jazzy, sensual and acoustic, featuring 

passionate lyrics reminiscent of Raphael 

Saadiq, Bilal softly massages the 

listener’s cerebral cortex. Piano keys 

blend beautifully with guitar riffs to set 

a classy, ambient atmosphere. Bilal’s 

Philadelphia-bred vocals have a seductive 

feel, able to penetrate the hearts of 

the opposite sex and lovers of melodramatic 

music. His ability to explore the 

boy-meets-girl, boy-breaks-up-with-girl, 

then-gets-back-together-with girl motif 

is demonstrated in “Butterfly,” which 

conjures images of love being rekindled 

between two people. A Love Surreal is 

a spiritual magnum opus made for sluggish 

afternoons and moonlit evenings 

either by yourself or with your significant 

other. 

—Adam Seyum 

Fallen Riviera 

Another World 

Self 

Producers: Wyn Davis & Ken Scott 

 

If you’ve grown tired of cookie cutter 

pop/rock bands where auto-tune and 

image take the forefront, here is your 

antidote. Modern rock gems such as the 

reflective “Those Times are Gone” or 

the plaintive “Somebody Take Me” are a 

feast for the mind and ears. Keyboardist 

Will Parry and guitarist Steve Ornest 

bring a Beatle-esque sensibility to 

the songwriting in terms of intelligent 

wordplay and honest emotions. And 

their vocal harmonies are rich and well 

defined. Drummer Aviv Cohen and bassist 

Matthew Denis provide an extensive 

range of rhythms that propel the tunes 

above standard radio fare. This is a disc 

that works on a “singles” level but is best 

enjoyed when appreciated in its entirety 

as an “album.” —Eric A. Harabadian 

The Band Perry 

Pioneer 

Big Machine/Universal 

Producer: Dann Huff 

 

With their lead-off single “Better Dig Two” 

certified platinum, this family trio have a 

powerful prelude to Pioneer, the followup 

to their massively successful debut. 

A consortium of Music Row writers 

including Shane McAnally penned the 

initial hit, but each member contributes 

songwriting credits to the bulk of the set 

list. While guitar-savvy producer Dann 

Huff highlights the band’s arena aspirations, 

he deftly balances these rock 

elements with guitars, fiddle and plaintive 

harmonies that connect to the band’s 

homespun Southern origins in “The End 

of Time,” and the poignant title track. 

With these riches, flatulent synths (“I’m A 

Keeper”) and cloying shout-out choruses 

(“Forever Mine Nevermind”) are only occasional 

distractions. —Dan Kimpel 

David Arkenstone/Charlee Brooks 

Loveren 

QDV Recordings 

Producers: Davis Arkenstone & Charlee Brooks 

 

Neo-classical/new age multi-instrumentalist 

David Arkenstone—collaborating 

with operatic vocalist and musician-composer 

Charlee Brooks—dives (literally!) 

into a symphonic adventure rich with 

dreamy ambiences, inspiring vocal textures 

(by Brooks and the Nashville Soul 

Choir) and explosive world grooves. 

Brooks’ ethereal power drives the narrative, 

which is based on a romantic fantasy 

fable about a mermaid on a quest 

of the heart and her merman that gets 

away—at least until the closing anthem 

“Love Always Waits.” Lovers of Enya 

and Celtic Woman will be enchanted by 

the multi-faceted sonic magic—but the 

cinematic dual vision of Arkenstone and 

Brooks transcends the typical fare of 

genre beautifully. —Jonathan Widran 

Senses Fail 

Renacer 

Staple Records 

Producer: Shaun Lopez 

 

Renacer (Spanish for “to be reborn”) is 

a fitting title. In 2004 Senses Fail hit the 

emo scene so quick, listeners thought 

it familiar. As members came and went, 

the tunes became poppier with lyrically 

melodramatic choruses over shredding 

solos. After the departure of longtime 

guitarist/key songwriter Garrett Zablocki, 

Buddy Nielsen and company have 

now replaced usual SF producer Brian 

McTernan on this record, and it shows. 

Thick chugs paired with uplifting lyrics—ironically 

similar to early Christian 

hardcore—simply fall flat. However, the 

effort is apparent—like in the Spanish 

spoken, “Mi Amor.” The vision is there, 

but is outweighed by bland guitars, awkward 

falsettos and an all-around “side 

project” feel. —Andy Mesecher 

To be considered for review in the CD Reviews section, you must have a record deal with a major label 

or an independent label with an established distributor. If you do not, please see our New Music Critiques section. 



Kongos 

Contact: mgmt@kongos.com 

Web: kongos.com 

Seeking: Label, US Booking, Distribution 

Style: Rock Alternative 

Username: Kongos 

Andrew Mack 

Contact: andrewmackmusic@gmail.com 

Web: facebook.com/andrewmackmusic 

Seeking: Management, Label, Booking 

Style: Pop 

Username: andrewmack 

Production 

8 

Lyrics 

8 

Music 

8 

Vocals 

8 

Musicianship 8 

From AZ by way of So. Africa, the 

Kongo bros. offer something fresh 

and powerful. Their "I'm Only Joking" 

incorporates giant-sounding, neo-native 

drum beats, gang-force vocals and 

brittle, red-zone sonics on a catchy 

tune that was a radio hit back home. 

The infectious "Come With Me Now" 

adds novel instrumentation (including 

accordian) to their unique formula, while 

"Escape" shops the band's sunny, lilting 

side. No question these musical siblings 

have forged a visceral brand of poprock 

that's both different and instantly 

appealing. Check 'em out. 

Production 

8 

Lyrics 

8 

Music 

8 

Vocals 

8 


Mack is a quality player, based in 

Florida, and his songs, including 

"New Rose" and "Asking Me Why" 

explore relationships with a familiar, 

commercial appeal that's tailored to 

the ladies. Though his voice is not 

distinctive, it doubles quite well and 

is a good vehicle for his heartfelt 

pleas. Arrangements are first class, 

with assorted guitar, piano and 

strings. His soulfully apologetic 

"Skin," with its big, church-like 

chorus, is our hit pick. Mack's tunes 

are commercially viable, and we can 

easily imagine his work being heard 

in a chick-flick setting. 

Backhouse Lily 

Contact: backhouselily@gmail.com 

Web: backhouselily.com 

Seeking: Film/TV, Festivals 

Style: Ambient/Instrumental 

Username: backhouselily@gmail.com 

Kaitlin Dibble 

Contact: kaitlindibble@gmail.com 

Web: kaitlindibble.com 

Seeking: Reviews, Booking, Label 

Style: Alt/Americana 

Username: Kaitlin dibble 

Production 

8 

Lyrics 

x 

Music 

7 

Vocals 

x 


Heavily rhythmic, with jazz-funk 

undertones, this Vegas-based duo 

(a bassist and drummer) deliver 

shadowy themes in deep, wide space. 

"Dark Harmonic" is catchy enough 

and builds drama as it swells and 

subsides with a remarkably tight snap 

to the drumming. Sporting a Pink 

Floyd DNA, "Discoma" kicks up the 

pace with a propulsive bassline and 

an effected guitar that recalls Adrian 

Belew. A truly gnarly tone explodes 

from the laidback "Under the Radar." 

Action flicks and videogames seem 

ripe for this stuff. 

Production 

8 

Lyrics 

7 

Music 

7 

Vocals 

9 


You can tell when a singer-songwriter 

knows of what she sings, as in 

Dibble's whiskey-and-cocaine-fueled 

"Live Nude Girls." Drawing upon her 

experience as a stripper, the artist 

renders the story with an insider's 

eye. A drawback here—one that 

pervades her work—is a tendency to 

force too many words into her songs. 

Dibble's best moment is "Let The Heat 

Soak In," a bluesy duet with Melvern 

Taylor that gels with its supple B3 

and tremolo guitar backdrop. Perhaps 

further collaboration will help bring 

this performer to the next level. 

Leon Waldo 

Contact: fyvemgmt@hotmail.com 

Web: leonwaldo.com 

Seeking: Label 

Style: Pop/Soul 

Username: leonwaldo 

Nimrod Wildfire 

Contact: rmiller@villamilla.com 

Web: villamilla.com 

Seeking: Collaborations, Remain Indie 

Style: Pop 

Username: nimrodwildfire 

Production 

6 

Lyrics 

8 

Music 

8 

Vocals 

8 


Texas pianoman Leon Waldo is a 

strong example of an artist whose 

superior instincts are undermined 

by poor production. "Lullaby" has an 

old-school ballad feel, but could use 

a falsetto lift to drive the finale home. 

"Better Days" is a sweet love song 

with an abiding optimism, and it shows 

the artist can deliver a low range if 

needed. Waldo's high-range capability 

and gift for dynamics is on exhibit in 

"All We Need Is Love." What he's done 

with limited means is impressive. We 

wonder how good these tunes might 

be if produced by a skilled hand. 

Production 

8 

Lyrics 

8 

Music 

7 

Vocals 

7 


Band leader Bob Miller is an engaging 

storyteller, and he captures a vintagetoned 

Warren Zevon vibe in "707," 

recounting a wild, martini-fueled 

plane ride. Love the uniquely circustwang 

guitar in the solo. A bluesier 

feel propels the sardonic "Corporate 

Refuge," about the adverse effects 

of selling one's soul. The thoughtprovoking, 

if repetitive, "Guts" shows 

Miller at his most philosophic and, as 

in the other tunes here, there's plenty 

of room for his seasoned players to 

stretch and show what they can do. 

No doubt an entertaining live act. 

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. 


Halfway 

Contact: mday.starmaker@gmail.com 

Web: halfwayband.com 

Seeking: Distribution, Mgmt, Booking 

Style: Alternative Rock 

Username: halfway 

PINWHEEL 

Contact: pinwheelband@gmail.com 

Web: pinwheelband.com 

Seeking: Film/TV, Label, Mgmt, Booking 

Style: Hard Rock 

Username: pinwheelband 

Production 

7 

Lyrics 

7 

Music 

7 

Vocals 

8 


While Halfway shines on a cover of 

Chris Isaak's "Wicked Game," lending 

the song a heavier, rocking vibe, the 

band has a hard time fusing its heavy 

instincts with the softest of vocal pop, 

as on "The Bird." "10:30" has a big, 

ballsy intro, a pretty good chorus, too, 

but the overall recording (even with 

inspired "Whoahhs!") is handicapped 

by tame, thin drums and dryly recorded 

vocals. "The Minx" delivers 

a leering sexcapade without much 

flair. There's clearly a solid foundation 

here, but this young band will need to 

keep working. 

Production 

7 

Lyrics 

7 

Music 

7 

Vocals 

9 


The first thing that strikes us about 

Pinwheel is that anguished vocalist 

Ben Brock has chops. The second 

thing is that the band is mired 

in an early 2000's vision, a la Tool, 

Staind and others. Though tight and 

muscular, the band tends to sound 

too similar from song to song, both 

sonically and lyrically. Sinewy bass 

lines carry each number, supported 

by a raft of guitar riffage, canned 

drums and tales of torment. It's good 

enugh for horror-flick soundtracks, but 

Pinwheel's talent and skill could use a 

savvy producer. 

Production 

8 

Lyrics 

6 

Music 

7 

Vocals 

7 


Kiss The Gunner’s 

Daughter 

Contact: ktgd.music@gmail.com 

Web: ktgdmusic.com 

Seeking: Label, Distribution 

Style: Hard Rock 

Username: KTGD 

KTGD come out screaming on "Message 

from Roslyn" with a lurching, 

Alice In Chains vocal push, sturdy 

drumming and powerful riffing. Fleet 

fretwork on the sex-rock guitar solo 

adds some glow. "Still Here" emits 

a more precise, muscular brand of 

riffage, though the song's lyrics often 

dip into cliche. "Paralyzed" comes 

off like a perfect WWE theme song, 

complete with its "lucky to be alive" 

message. The band have followed a 

well-pawed blueprint; now they need to 

decide if that's gonna be enough. 

Production 

6 

Lyrics 

8 

Music 

7 

Vocals 

7 


Imiuswi Aborigine 

Contact: imiuswi@gmail.com 

Web: imiuswi.com 

Seeking: Booking, Film/TV 

Style: Hip-Hop 

Username: imiuswi 

Organic, female-fronted collective 

avoids the bling-and-boast formula 

for a higher consciousness product. 

"Mash" brings a heavy funk/psych 

groove amalgam with a fierce lyric 

delivery and trippy electric guitar. 

"Fluctuation" adds an idyllic cello 

to the mix, while "Hip-Hop Hooray" 

benefits from rich organ parts. The 

result, in fact, is not unlike Rage 

Against the Machine. Our main beef: 

an artist with a timely message must 

communicate clearly, and these 

muddy, word-heavy recordings are 

simply not getting it done. 

Production 

8 

Lyrics 

6 

Music 

7 

Vocals 

7 


Richard Kincaid 

Contact: info@luckmedia.com 

Web: richardkincaidmusic.com 

Seeking: Label, Booking, Film/TV, 

Licensing 

Style: A/C 

Username: RKincaid 

Kincaid and his songwriter-producer 

aim straight for the A/C realm, 

employing the performer's abiding 

optimism, his pied-piper nature, on 

the inspirational (if borderline cheesy) 

"Wonderful Day." Though not gifted 

with a powerful voice, Kincaid gets 

quality support from the likes of Dave 

Koz, who adds sax to the wistful, 

soul-baring "I Wish It Was Me." 

The strongest outing is the soulful 

rendition of the classic "Ain't No 

Sunshine" where, with jazzy guitar fills 

and additional instrumentation, the 

performer makes the song his own. 

Production 

6 

Lyrics 

7 

Music 

8 

Vocals 

7 


Seraphim Ward 

Contact: eileen@eileenkoch.com 

Web: seraphimward.com 

Seeking: Label, Booking, Film/TV 

Style: Occult/Alt/Industrial Rock 

Username: seraphimward 

Ward's recordings are a case of 

superior musical instincts torpedoed 

by poor production. "Still" exhibits 

very nice songcraft—the chorus is 

solid, the bridge is nice, the guitar 

atmospherics are a perfect touch. 

It's too bad the kick drum is a 

piercing presence, overshadowing 

her vocal. Same with "Bad 

Behavior"—solid song, poor mix. 

Ward muses on the nature of love 

and hate on "What's The Color of 

Love." Here's an artist who would 

benefit from a much surer hand 

behind the board. 

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

To be considered please go to http://musicconnection.com/amp and click on “Get Reviewed.” All submissions are randomly selected and reviewed by committee. 


LIVE REVIEWS 

BANSHEE BONES 

THE ROXY THEATRE West Hollywood, CA 

Contact: Eugene Rice, 310-418-3557, 

bansheebonesmusi@gmail.com 

Web: http://facebook.com/bansheebonesmusic 

The Players: Eugene Rice, vocals; Joe Perez, 

lead guitar; Salem Romo, bass; Ryan Rice, drums. 

Username: bansheebonesmusic@gmail.com 

Material: Banshee Bones provide a fascinating 

adventure with each song. The band often 

give glimpses of a world similar to that of Rush, 

perhaps mainly due to the vocal range, but also 

with regard to the dramatic elements employed, 

and multi-themed songs. In tracks like “One of a 

Kind” one can’t help thinking a bit of Geddy Lee, 

but with an attempt to paint a specifically dark or 

demonic picture. There is a common theme of 

dramatic fantasy with a consistent lean toward 

the dark arts or “devilish” side of things. Alice 

in Chains comes to mind if just for a moment in 

“Creep N Crawl.” 

Each song seems to have several “movements” 

and struggles to claim a firm identity 

THE KEY CLUB West Hollywood, CA 

Contact: Eileen Koch, 310-441-1000, 

eileen@eileenkoch.com 

Web: http://barbarianoverlords.com 

The Players: Brent A. Nuffer, vocals; 

Joe Spadaro, guitar; GK Via, bass; Brandon 

Kachel, drums. 

Username: barbarianoverlords 

Material: Any lover of Led Zeppelin would 

likely appreciate Barbarian Overlords, or at 

least find their material extremely familiar. Each 

song seems to have been written as if for an 

ad agency looking for a Zeppelin “sound” but 

needing to stay away from infringing directly 

on the copyrights. The set's climax, a cover of 

Zeppelin’s “Heartbreaker,” makes it impossible 

not to see the direct influence, and also 

demonstrates the subtle difference between 

good and great songwriting. 

Musicianship: All members of Barbarian 

Overlords appear experienced and display a 

firm rock & roll presence. If singer Brent Nuffer 

has the disadvantage of sounding similar 

to one of rock's most recognized singers in 

Robert Plant, his voice and confidence are 

nevertheless strong. Nuffer is an impressive 

vocal musician to say the least. Improvements, 

however, could me made in his falsettos and 

overall clarity, as it is almost impossible to 

understand any of the lyrics. Guitarist Joe 

Spadaro, while demonstrating a pronounced 

Jimmy Page influence, is an able technician, as 

or memorable hook. Lyrically, there is little that 

seems original or deep, although the attitude 

and intensity of the sound urges to be taken 

seriously. By simplifying some of the songs, and 

writing more casual, relatable lyrics, the tracks 

could have more appeal to the outside observer. 

Musicianship: Lead singer and frontman 

Eugene Rice shows incredible potential and 

eventual star power. The high precision and 

clarity of diction allows for the comparisons 

previously mentioned to the likes of Geddy Lee 

and Layne Staley. Lead guitarist Joe Perez also 

shows some potential with melodic solos, and 

does an adequate job of holding rhythm parts in 

line. Tightening-up the rhythm section, however, 

could go a long way toward making the music 

more powerful. Bassist Salem Rolo and drummer 

Ryan Rice show skill with their instruments, 

but as a unit there are too many moments of 

chaos. They all seem well enough rehearsed, 

but allow their emotion perhaps to lead them 

out of synch with one another on some of the 

more intense excursions. 

is the rest of the band. A particularly innovative 

moment, and agile musicianship, occurs in “The 

Harvester” as a repetitive rhythmic pattern is 

introduced and then reprised throughout the 

song, challenging the entire musical unit to 

perform at an impressive level. 

Performance: These guys are comfortable on 

a big stage and they demonstrated a seasoned 

ability to entertain. With some good dynamic 

elements peppered into the set—especially in 

the song “Running Scared” which contained 

some nice space throughout—the overall 

presentation was top-notch. 

The moments of banter in between songs 

Performance: Banshee Bones began their set 

with beaked masks and attempted to set a tone 

of bizarre melodrama. By the second song, 

the masks were off, and Rice gradually peeled 

layers until shirtless, revealing his holstered-gun 

tattoo. There was a raw, exciting energy that, 

for a moment, was stimulating, then crossed 

the line into silly and a little sloppy. The passion 

and care for presenting a rock & roll image was 

clear, but every member of the band has some 

room before they can command a magnetic and 

relatable presence. 

Summary: Banshee Bones go to some lengths 

to put on an entertaining show, set a mood and 

take the listener on a multi-faceted journey, 

but the current result is chaotic and lacking a 

firm identity. With some focus on writing strong 

hooks, simplifying the songs, and tightening 

up the more intense moments, the band could 

attract more hungry fans. 

–Tim Reid, Jr. 

BARBARIAN OVERLORDS 

created a consistent downside, though, as 

Nuffer was often difficult to understand. The 

frontman spoke very quickly and failed to 

achieve a real connection with the intensely 

packed crowd, many of whom seemed 

confused when he was speaking. 

Summary: Barbarian Overlords are best 

described as a band highly influenced by Led 

Zeppelin, and extremely adept at providing an 

entertaining experience within that style and 

sound. This is a quality group of rockers who 

know how to deliver a fun show to anyone who 

likes to hang at the intersection of blues and 

heavy metal. 

–Tim Reid, Jr. 

TIM REID TIM REID 


legitimate manner. Matle is, simply, a guitarist’s 

guitarist. He specializes in a seven-string 

guitar and is, primarily, a finger style player. 

Eschewing a plectrum, he is able to have full 

use of his hands for odd chord substitutions, 

bass line accompaniment and greater speed. 

Pangborn is more than up to the task of 

supporting their diverse song list, with just the 

right amount of subtlety, swing and groove. 

SHEILA LANDIS & RICK MATLE 

GIZZMOS BISTRO & BAR Wyandotte, MI 

Contact: Sheila Landis, slandis9@juno.com; 

Rick Matle, fretrick1@gmail.com 

Web: http://sheilalandis.com 

The Players: Sheila Landis, vocals, 

percussion, kazoo; Rick Matle, guitar, bass 

loops; Ron Pangborn, drums. 

Username: slandis9@juno.com 

Material: Expect the unexpected when you 

take in this group. Their originals are jazz and 

blues based, with an equally strong suit being 

their eclectic mix of rock, R&B, country, classic 

standards and pop. Within the duration of three 

sets the audience is treated to re-harmonized 

and reworked versions of everything from Carole 

King and Carlos Santana to Hank Williams Jr., 

Van Morrison, Nancy Sinatra, Jimi Hendrix and 

Steely Dan. They even dig back into the Great 

American Songbook grab-bag for Rodgers & 

Hart’s “My Funny Valentine” and Sammy Cahn’s 

“Teach Me Tonight.” 

Musicianship: Landis and Matle are unquestionable 

masters at their craft, and the 

addition of veteran drummer Pangborn locks the 

grooves in tight. Landis’ gift is her ability to shift 

in an effortless fashion from wordless vocalese 

to multi-octave filigree and back again. She is 

also quite adept at hand percussion and can 

mimic woodwind and various horn sounds in a 

ERIC HARABADIAN 

Performance: Landis was like a force of nature. 

She would be crooning a lush and cool love 

ballad one minute and then jump into some 

feverish rock or up-tempo funk the next. Her 

integration of tambourine, cowbell, guiro and 

shakers also added denseness and weight to 

the overall rhythmic foundation. Matle’s strong 

suit was pulling harmonic nuances, percussion 

sounds and assorted effects out of his guitar. 

His ample skill set especially came into play 

on extended jams like Grover Washington’s 

“Mr. Magic” and Hendrix’s “Foxy Lady.” For a 

seemingly paired down three-piece they packed 

a large and mighty punch. 

Summary: It is obvious that Landis and Matle 

have been working together a considerable 

amount of time and have their presentation 

down to a science. But it was far from pedestrian 

or boring. They are a well-oiled and seasoned 

machine that knows what the crowd wants and 

how to tailor sets to give it to them. However, 

what makes this group special is their sense of 

experimentation and devil-may-care. You will 

find yourself on the edge of your seat and loving 

every minute of it. –Eric A. Harabadian 

THE ROXY THEATRE West Hollywood, CA 

Contact: Jason Mezilis, BBKofficial@gmail.com 

Web: https://facebook.com/ 

BLaCkBeLtKARATE 

The Players: Ryan Hanifl, lead vocalist; Ryan 

Brown, drums; Harry Ostrem, bass; Jason 

Achilles Mezilis, guitarist. 

Username: phatelvis 

Material: A John Williams Superman/Indiana 

Jones medley played over the house speakers 

as the lights glowed a Kryptonian Council neon 

blue just before the curtains parted to reveal 

Black Belt KARATE. The band were certainly 

undersold as the night’s opening act, packing the 

house at a surprisingly early hour for a weekday 

show, with the audience staying locked in for the 

duration. While several of the songs in the live set 

are still in development the composition is tight. 

For example, the tentatively titled “Rigamortis” is 

the standout single of the show. The emphasis 

on the “r” and “l” sounds in the lyrics creates a 

catchy syncopation, “Sets me on fire, she’s got 

this body, fuels my desire. She makes my blood 

run, my temperature boil, some days I love her, 

some days I recoil.” The chorus catchphrase 

typically indicative of song title, “You’re A Natural,” 

has something of an Allman Brothers, “Whipping 

Post” feel about it. 

Musicianship: Double Marshalls for both guitar 

and bass makes for a nice, meaty sound, just 

heart throbbing enough. The drums tend to be 

overpowering, most likely due to the microphone 

placement on the bass drum. The vocals seem 

low under this foundation. Despite this the band 

make up for it through the dynamics of 

BLACK BELT KARATE 

their song compositions. Some of the fantastic 

guitar riffs and drum patterns on “Rigamortis” are 

reminiscent of Soundgarden and Living Colour. 

Performance: Hanifl could add a little more 

aggression to his vocal, being just on the cusp of 

Chris Robinson and Mick Jagger. While all band 

members supported by singing backup, the Keith 

Richard style guitar riffs on some of the songs 

did lend themselves to the feeling this band 

would benefit from the oomph of their own Tina 

Turner styled backup vocals. 

Summary: Black Belt KARATE have great potential, 

as Hanifl and Mezilis are the lead writers 

with experience in production and engineering. 

There is a new sound here that wants to gel. 

Maybe voodoo rock is the best description; tribal 

world metal meets psychedelic southern rock or 

as the band claims, “desert rock” with “Clint Eastwood 

grit.” As the band develops more material 

they may hone a more synthesized style, but as it 

stands Black Belt KARATE put on a good show, 

pulling all the standard punches. 

–Brooke Trout 

STEPHANIE PICK 


THE MIDDLE EAST Cambridge, MA 

Contact: sasha.alcott@gmail.com, chris.m.viner@gmail.com 

Web: http://whenparticlescollide.com 

The Players: Sasha Alcott, guitar, vocals; Chris Viner, drums. 

Username: whenparticlescollide 

Material: With this electrically charged duo from Bangor, ME, buzzy guitar provides 

a sub-harmonic backdrop that’s nearly drowned by a relentless avalanche of drums 

as primal lyrics recall the romantic, innocent charm of earnest punk. Think Pixies 

or Sleater-Kinney stripped down to an intimate pairing with a lopsided emphasis on 

percussion. The invigorating result refreshes, yet quickly wears thin. 

Musicianship: Guitarist Sasha Alcott doesn’t push her Gretsch to uncommon 

heights. Rather, she seems content letting her axe play second fiddle to Chris 

Viner’s monstrous drumming, which ranges from polyrhythmic grooviness to heavy 

metal mashing. Meanwhile, taking apparent inspiration from rock & roll sirens like 

Joan Jett and Courtney Love, Alcott’s fiery vocals set the roof ablaze. 

Performance: Although she seems unaware of it, Alcott’s tart yet bubbly 

personality was deployed effectively as she cracked jokes and bounded about the 

stage. Regretfully, her movements were limited due to the curious choice to wear 

high heels. Viner placed his skin pounding skills on display during an abbreviated 

solo, but he deferred the hefty task of relating to the audience and providing visual 

stimulus to his partner. Neither branding nor any allusion to the group itself was 

incorporated into their set. 

WHEN 

PARTICLES 

COLLIDE 

????? 

Summary: This unscientific experiment proves that a musical pair, when as tightly 

linked as a proton bound to an electron, can generate a luminously positive charge. 

Yet the nucleus quickly decays absent the variety necessary to sustain one’s 

interest. This could be accomplished by the addition of another player, although 

this would permanently alter the group’s chemical makeup. WPC sound best when 

lasered in on cosmically rhythmic, danceable passages, so they could expand upon 

that dynamic, or they might try incorporating entirely novel styles to beef up their 

diversity. Either way, they need to conclude their set in a more dramatic fashion if 

they wish to generate more enthusiastic peer reviews. –Andy Kaufmann 

AQNDY KAUFMANN 


totally comfortable behind the mic. Blessed 

with a large vocal range, she’s in complete 

control––dialing down to hushed tones at some 

points, belting to the back of the room at others. 

She seamlessly moves between guitar, ukulele 

and piano. The latter is only incorporated in 

one song, “Goodbye, Baby,” however it shines 

through so well that one can’t help but wonder 

why she doesn’t utilize it more. Kudos also go to 

her backing band for providing a solid foundation 

for the songs. Evan Taylor keeps tight 

grooves on the drums, Kyle Cadena delivers 

memorable guitar riffs and Andrew Kimball 

maintains a more than serviceable bass line. 

JANET LABELLE 

HOTEL CAFE Hollywood, CA 

Contact: info@janetlabelle.com 

Web: http://janetlabelle.com 

The Players: Janet LaBelle, vocals, guitar, 

piano, ukulele; Kyle Cadena, guitar; Andrew 

Kimball, bass; Evan Taylor, drums. 

Username: Janet LaBelle 

Material: Weaving together indie rock and surf 

pop, Janet LaBelle adds her name to a growing 

list of like-minded, talented acts such as Best 

Coast and She & Him. Songs like “Losing All The 

Way” showcase LaBelle’s ability to craft upbeat, 

instantly catchy choruses. “I Only See You” and 

“Goodbye, Baby” reflect a softer, more introspective 

side. These tunes have enough mass appeal 

to gain airplay on Triple A radio, while maintaining 

the requisite indie cred to fit in perfectly on NPR. 

Musicianship: A multi-instrumentalist who’s 

been performing since age 7, LaBelle appears 

COREY IRWIN 

Performance: There’s no denying that LaBelle 

is the star here. From the moment she took 

the stage, her girl-next-door charm won over 

everyone in the crowd. Looking like one part 

Zooey Deschanel and one part June Carter, 

she masterfully crooned from each tune to the 

next. Her personality really shone through on 

“Honey Song,” as the singer strutted under the 

spotlight with a rockabilly swagger. The rest of 

the band left the stage for the final two songs of 

the set, as LaBelle performed “You Don’t Get It 

So Forget It” and “I Only See You” armed with 

nothing but her voice and a ukulele. The result 

sounded sweet and sincere; a singer earnestly 

opening her heart to a room filled with listeners. 

Summary: Blessed with memorable songs 

and charisma to spare, the sky’s the limit for 

Janet LaBelle. Her style and subject matter 

seem readymade for licensing, most likely in a 

romantic comedy film. Meanwhile, she’s working 

on her debut full-length album, with hopes to 

release it later this year. 

–Corey Irwin 

EL REY THEATRE Los Angeles, CA 

Contact: nik@ballinpr.com, 323-334-6917 

Web: http://latyrxauthentic.com 

The Players: Lyrics Born and Lateef the 

Truth Speaker 

Username: Latyrx 

Material: Latyrx’s music represents a mystical 

mix of boom-bap raps and funky, experimental 

rhythms that, when spearheaded by topical 

issues, aims to lead listeners on a path of 

progression. Their tunes run parallel to the likes 

of Dilated Peoples, Company Flow and De La 

Soul. Songs such as “Gorgeous Spirits (Aye, 

Let's Go!)” melodically render a party vibe with 

commercial appeal, while “Call to Arms” signifies 

the injustice of the disenfranchised, calling 

upon citizens to fight for their freedom. Latyrx 

keeps the flame burning on the underground rap 

scene as they continue to represent as pillars 

for Northern California hip-hop music. 

Musicianship: Lyrics Born maneuvers his 

rhymes in a flow that keeps listeners attuned 

to the message that he and his equally topical 

counterpart, Lateef the Truth Speaker, are 

conveying. Songs like “It’s Time,” featuring Amp 

Live from Zion I, and classics like “Burning Hot 

in Cali” are favorites that the duo’s die-hard fans 

yearn for. On the downside, though Latyrx have 

been rocking numerous stages internationally 

since the mid-‘90s and they make an effort 

to engage the crowd, their stage presence is 

somehow not as exhilarating as it could be. 

Performance: Backed by a drummer and a DJ, 

Latyrx delivered an enthusiastic set of originals 

to a somewhat reserved audience. Although at 

times it seemed that Latyrx’s interaction with 

the crowd was slightly negligible, the vibe they 

shared with their bandmates was outstanding. 

These players seemed to be having a good time 

throughout the entire set. 

After performing songs that they’ve recorded 

over the past 15 years, Latyrx ended by telling 

the audience to have fun and to remember to 

leave as one. 

LATYRX 

Summary: Latyrx are a group that approach 

hip-hop with an avant-garde perspective. 

They’ve cultivated a cult following since 1996, 

supporters who enjoy their hip-hop/alternative/ 

jazz infused music. While Latyrx have yet to 

cross over into the commercial sector, they have 

continued to gain respect as a progressiveminded 

underground hip-hop act. 

–Adam Seyum 

Danny Seyum 


Download This Directory From Our Website 

www.musicconnection.com/amp 

22 nd Annual Directory of 

Guitar/Bass 

Instructors & Services 

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

Compiled By Denise Coso 

The day a musician stops learning is the day his/her music stops progressing. This national directory 

will help you find the right instructor or repair person to take your dexterity, knowledge, tone and 

technique to the next level. 

Guitar Instructors 

& Services 

Nationwide 

GUITAR CENTER 

Web: www.guitarcenter.com 

Basic Rate: call for info 

Clients: all levels 

Styles/Specialties: all styles 

*Check web for the nearest location 

PLAY JAZZ GUITAR 

Web: www.playjazzguitar.com 

Basic Rate: see website for info 

Arizona 

ARIZONA MUSIC ACADEMY 

1700 E. Elliot Rd. Ste. 11 

Tempe, AZ 85284 

480-705-0875 

Web: www.arizonamusicacademy.com 

TONAL CENTER GUITAR 

INSTRUCTION 

1051 W. University Dr. 


480-894-3346 

E-mail: kurt@tonalcenter.com 

Web: www.tonalcenter.com 

Basic Rate: $20-25 per half hour 

California 

AARON WOLFSON 

Los Angeles, CA 

323-650-9400 

E-mail: aaronwolfson@aol.com 

Web: www.aaronwolfson.com 

Contact: Aaron 

Basic Rate: $150 

Styles/Specialties: All 

styles. Learn what you want to 

know. Guitar, bass, 

piano, songwriting, music theory for 

all instruments; including vocals. 

ADAM’S MUSIC 

10612 W. Pico Blvd. 

Los Angeles, CA 90064 

310-839-3575 

E-mail: info@adamsmusic.com 

Web: www.adamsmusic.com 




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 Alhambraschoolof 

music.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.altalomamusic.com 


Additional location: 

650 E Parkridge, #115 

Corona, CA 92879 

951-735-5924 

AMUSE 

43-C Peninsula Center 

Palos Verdes, CA 90274 

310-377-7838 

E-mail: chris@amusemusic.com 

Web: www.amusemusic.com 




ANAHEIM HILLS GUITAR AND 

BASS LESSONS 

300 S. Blackberry Ln. 

Anaheim, CA 92808 

714-457-4342 

E-mail: foelsch@sbcglobal.net 

Contact: Keith Foelsch 

Basic Rate: $20/half-hr., $30/hr. 

Clients: From beginners to top 

pros 

Styles/Specialties: I regularly 

perform in arenas and concert 

clubs with top national acts. I teach 

all styles. Learn how to play chords 

and solos in any key, or how to 

make up bass parts easily, so you 

can record and perform with all 

types of bands. 

ANDY BRAUER SERVICE 

COMPANY 

5527 Cahuenga Blvd. 

N. Hollywood, CA 91601 

818-631-3777 

Contacts: Andy Brauer, Monique 

Caravello 

E-mail: guruguitarspa@gmail.com 

Web: www.facebook.com/ 

andybrauerguitar, www.myspace. 

com/andybrauer 

Basic rate: $85/hour 

ARCADIA MUSIC CENTER 

1270 S. Baldwin Ave. 

Arcadia, CA 91007 

626-821-0482 Fax 626-447-8650 

E-mail: info@arcadia-music.com 

Web: www.arcadia-music.com 




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 

Web: www.bananasmusic.com 

Basic Rate: call or check website 

for info 

BARKER’S MUSIC 

519 McHenry Ave. 

Modesto, CA 95354 

209-526-0347 

E-mail: kyle@barkersmusic.com, 

lonney@barkersmusic.com 

Web: www.barkersmusic.com 


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: baxternorthup 

music@gmail.com 

Web: http://baxternorthup.tumblr.com 




B. HEFNER COMPANY 

11701 3/4 Washington Blvd. 

Whittier, CA 90606 

562-945-9490 

E-mail: bhefnerco@clear.com 

Web: http://www.bhefner.com 

Services: Along with building 

Fender licensed replacement 

parts necks and bodies, B. Hefner 

Company also manufactures 

custom guitars, guitar parts and 

guitar bridges for more than a 

dozen of America’s finest guitar 

companies, wholesalers and 

countless custom builders. Fender, 

Kramer, Gibson, Epiphone, Dean, 

Steinburger, Travis Bean are but 

a few of the companies we are 

making parts for, the list goes on. 

Over 28 years experience, 100% 

satisfaction. 

BILLY BURKE 

123 E. Montecito Ave. “C” 

Sierra Madre, CA 91024 

626-622-6123 

E-mail: billy@lovelessmotel.com 

Web: www.lovelessmotel.com 


BOULEVARD MUSIC 

4316 Sepulveda Blvd. 

Culver City, CA 90230 

310-398-2583 

Web: www.boulevardmusic.com 




BURBANK GUITAR STUDIO 

425 Dartmouth Rd. 

Burbank, CA 

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.californiavintage 

guitarandamp.com 

E-mail: sales@ 

californiavintageguitarandamp.com 

Specialties: We sell top of the line 

new and vintage guitars and amps 

including Fender, Gibson, Gretch, 

Martin, Guild, National Resophonic 

and Eastman dealers. We have 

been actively dealing in vintage 




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. 


818-340-4021 

Contact: Ted Kraut 

E-mail: ted@canoga 

schoolofmusic.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: inquiries@ 

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 

San Clemente, CA 

949-498-6102 

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 




DAWN BLASCO 

3452 Elm Ave., Ste. 104 

Long Beach, CA 90807 

562-426-6695 

E-mail: dawn@segoviaplayers.com 

Web: www.segoviaplayers.com 



Styles/Specialties: classical, 

flamenco, jazz, theory 

DIETZ BROS. MUSIC 

240 S. Sepulveda Blvd. 

Manhattan Beach, CA 90266 

310-379-6799 

E-mail: john@dietzbrothersmusic. 

com 

Web: www.dietzbrothersmusic.com 




ERIC’S GUITAR SHOP 

8101 Orion Ave. #21 

Van Nuys, CA 91406 

818-780-7191 

E-mail: Ericsguitarshop@att.net 

Web: www.ericsguitarshop.com 

Contact: Eric 

Basic Rate: call for rates 

Clients: Foo Fighters, Joe 

Walsh, John Mayer, Red Hot Chili 

Peppers, Hutch Hutchinson, Dave 

Matthews, Beck and many others. 

Services: Top quality electric and 

acoustic guitar and bass repair, 

modification and custom guitar 

building. Fender authorized repair 

service. Over 20 years of service in 

the same location. 

FAUNT SCHOOL OF 

CREATIVE MUSIC 


818-506-6873 

E-mail: musicalkills@gmail.com 

Web: www.musicalskills.com 

Basic Rate: see web 

Clients: All levels. Forty percent 

of students already professional, 

many quite accomplished. Serious 

beginner and intermediate students 

also welcome. 

Styles/Specialties: method taught 

one-on-one, specializing in piano, 

guitar and bass, and applying to 

any style, for greatly increasing the 

“musician skills” and knowledge 

typically not or poorly addressed in 

music lessons or classes. 

FRET HOUSE, THE 

309 N. Citrus Ave. 

Covina, CA 91723 

626-339-7020 800-BET-FRET 

Web: www.frethouse.com 




FULLERTON MUSIC CENTER 

121 N. Harbor Blvd. 

Fullerton, CA 92832 

714-871-1805 

E-mail: info@mosfullertonmusic.com 

Web: www.mosfullertonmusic.com 


Level: all 


Notes: Full line music store. 

GEOFFREY MCCABE 

6104 Glen Oak 

Hollywood, CA 90068 

323-464-1895, 323-819-0100 

E-mail: merkaba22@sbcglobal.net 

Web: www.myspace.com/ 

geoffreymccabe 



Styles/Specialties: high-energy, 

modern rock, blues, alt., jazz, fusion, 

progressive, acoustic, electric 

Notes: Recorded, wrote and 

produced two award-winning 

instrumental albums, toured 

Europe including Montreux 

Jazz Festival featured on www. 

attentionspanradio.net, second 

release, Fractal Architecture, 

available on iTunes. 

GEORGE FOSTER 

Hollywood/N. Hollywood/ 

Sherman Oaks, CA 

818-505-0840 

E-mail: georgefosterband@ 

hotmail.com 


georgefosterband 

Basic Rate: $55/$65/hr.- in home 

Clients: all levels, kids and 

beginners 

Styles/Specialties: blues, rock & jazz 

Notes: Performance degree from 

Berklee College of music. 

House calls. 

GERARD’S GUITARS 


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. 


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 & Classical 

*Note: 28 years experience, taught 

over 1,700 students, including 

Michael Einziger of Incubus 

GRAYSON’S TUNE TOWN 

2415 Honolulu Ave. 

Montrose, CA 91020 

818-249-0993 

E-mail: graysonstunetown@ 

sbcglobal.net 

Web: www.graysonstunetown.com 

Basic Rate: Check website for 

rates and Teachers Bios 



GUITAR ALLEY 

11701 3/4 Washington Blvd. 


562-945-9490 

E-mail: bhefnerco@clear.com 

Services: Guitar Alley is the 

premier Hot Rod Shop just for your 

guitar. We carry a full inventory 

of bodies, necks, miscellaneous 

guitar parts and accessories. Our 

repair shop is second to none. 

Being a manufacturer we have 

the highest rating among all guitar 

companies when it comes to 

warranty work. Call for any of your 

guitar repair needs. Over 28 years 

experience, 100% satisfaction. 

GUITAR GALLERY 

18416 Ventura Blvd, 


818-578-3262 

E-mail: info@laguitarlesson.com 

Web: www.laguitarlesson.com 



Styles/Specialties: classical, 

flamenco, pop 

GUITAR MERCHANT, THE 

7503 Topanga Canyon Blvd. 


818-884-5905 

E-mail: theguitar 

merchant@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 



31244 Palos Verdes Dr. W., 

Ste. 205 

RPV, CA 90275 

310-377-2600 

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 


including fingerpicking 

HAMROCK MUSIC 

INSTRUCTION 

Aliso Viejo, CA 

949-230-7136 

E-mail: hamrockmusic@cox.net 

Web: www.hamrockmusic.com 

Contact: Mark Hamrock 

April 2013 

www.musicconnection.com 

61



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 

JERRY MANFREDI 

Mar Vista, CA 

310-467-0889, 310-467-0889 

E-mail: remmusic@ca.rr.com 

Web: http://www.facebook.com/jerry.manfredi 

Basic Rate: Please Call for information 

Clients: Beginning to Pro 

Styles/Specialties: All styles, guitar and bass 

lessons with heart. 25 years experience. 

JES SELANE 


323-251-6078 

E-mail: terry@abstracttalentagency.com 

Web: www.selane.com 

Contact: Terry Mandel 

Styles/Specialties: rock/blues/metal/pop/jazz. 

Top celebrity references, 18 years teaching exp. 

Basic Rates: call for more info or see lesson 

section on website 

JIM’S MUSIC CENTER 

14061 Newport Ave. 

Tustin, CA 92780 

714-669-3600, 800-644-6874 

Fax 714-669-3030 

E-mail: jimsmusic@usa.net 

Web: www.jimsmusic.com 

House Calls: no 

Clients: beginner to expert 


JOHN MAURICE DOYLE 

Green Monster Music 

4543 Carpenter Ave. 

Studio City, CA 91607 

818-377-5276 

E-mail: customer_service@ 

greenmonstermusic.com 

Web: www.greenmonstermusic.com 




JOHNNY THOMPSON MUSIC 

222 E. Garvey Ave. 

Monterey Park, CA 91755 

626-280-8783 Fax 626-280-4600 

E-mail: jtmusic@hotmail.com 

Web: www.johnnythompsonmusic.com 




JOHN TAPELLA 


E-mail: john@guitarempire.com 

Web: www.guitarempire.com 

Basic Rate: please call for info 

Clients: Beginning to advanced 


*Notes: Transcriber for line 6 Satriani, Vai, 

Hendrix & Vaughan, online lessons also 

available at: guitarempire.com. 

JOIN THE BAND 

MUSIC LESSONS STUDIO 

Music Lessons For All Ages 

Van Nuys, CA 

818-345-8950 

E-mail: info@jointheband.com 

Web: www.jointheband.com 

Basic Rate: call for info or see our website 


Styles/Specialties: Private lessons on guitar, 

bass, drums, keyboards and voice. We have 

a great staff of the best music teachers and 

music professionals in Los Angeles. 

*Notes: “Where Everyone Plays.” Join the 

Band is in its 14th year! Our program also 

puts students (kids and adults) in bands and 

prepares them for a gig. All ages, levels and 

styles. Professional band coaching is also 

available. 

KASHA AMPLIFIERS, INC. 

1464 Madera Rd., Ste. 332 

Simi Valley, CA 93065 

818-584-2299 

Products: Amplifiers, effect pedals, 

modification systems 

E-mail: sales@kashaamplifiers.com 

Web: www.kashaamplifiers.com 

KAYE’S MUSIC SCENE 

19369 Victory Blvd. 

Reseda, CA 91335 

818-881-5566 

E-mail: gkayesmusicscene@aol.com 

Web: www.kayesmusicscene.com 




KIRWAN BROWN 

Burbank, CA 

818-565-9779 

E-mail: kirwanbrown@yahoo.com 

Web: myspace.com/kirwanbrownmusic 

Contact: Kirwan 

Rates: $30. per hr 


Styles/Specialties: All styles: ear-training, 

sight-reading, groove playing, theory, 

technique, emphasis on getting gigs and 

playing well with others. 

KRUSE KONTROL AMPLIFICATION 

Sun Valley, CA 91352 

818-333-6781 

E-mail: info@krusekontrol.com 

Web: www.krusekontrol.com 

Basic Rate: rates determined by 

service type 

Styles/Specialties: repair/service of tube+solid 

state amps incl. modifications+overhaul 

LA HABRA MUSIC 

1885 W La Habra Blvd. 

La Habra, CA 90631 

562-694-4891 

E-mail: info@lahabramusic.com 

Web: www.lahabramusic.com 





1191 Magnolia Ave. Ste. B 


951-898-2630 


Download This Directory at From www.musicconnection.com/amp 

Our Website 


LA MIRADA MUSIC 

14928 Leffingwell Rd. 

La Mirada, CA 90638 

562-941-4495 

E-mail: lamiradamusic@gmail.com 

Web: http://www.facebook.com/pages/La- 

Mirada-Music/307937841727 




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 

370 Fair Oaks Ave. 

Pasadena, CA 91105 

626-568-8850, 800-960-4715 (US only) 

E-mail: info@lamusicacademy.edu 

Web: www.lamusicacademy.edu 

LARRY LARSON MUSIC STORE 

1607 W. Glenoaks Blvd. 


818-244-7608, 818-240-1343 

E-mail: leigh@larrylarsonmusicstore.com 

Web: www.larrylarsonmusicstore.com 




LESSONSTHEROCK MUSIC LESSONS 

Los Angeles and Orange County, CA 

562-773-0422 

Web: www.lessonsthatrock.com 

Contact: Micah J. Mata, owner 

LON COHEN STUDIO RENTALS 

N. Hollywood, CA 

818-762-1195 Fax 818-762-1196 

E-mail: office@loncohen.com 

Web: www.loncohen.com 


Services: We rent top of the line backline 

(guitars, basses, amps, keyboards and drums) 

which can be heard on records from Aerosmith 

to ZZ Top and can be seen on television from 

Conan to Lopez. We also offer cartage, temp. 

controlled storage, and world class guitar, bass 

and amp repair. 

LONG BEACH SCHOOL OF MUSIC 

3840 Woodruff Ave., Ste.109 


562-627-0464 

Web: www.longbeachschoolofmusic.com 


Clients: all levels, all ages 



1710 S. Pacific Coast Hwy. 

Redondo Beach, CA 90277 

Web: southbayschoolofmusic.com 

310-540-6767 

Peninsula School of Music 

31244 Palos Verdes Dr. W. #205 

Rancho Palos Verdes, CA 

Web: pvpeninsulamusic.com/index.html 

310-918-0439 

MARINI’S MUSIC 

222 W. Main 

Alhambra, CA 91801 

626-289-0241 

E-mail: marinimusic@gmail.com 

Web: www.marinimusic.com 




MARSHALL MUSIC 

503 Van Ness Ave. 

Torrance, CA 90501 

310-320-0246 

E-mail: marshlmusc@aol.com 

Web: www.marshallmusiconline.com 




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 

MICHAEL T. 

Westside, South Bay and SFV/Hollywood, CA 

310-358-3332 

E-mail: michaelmusic1@yahoo.com 

Web: www.facebook.com/michaeltwyman 

Basic Rate: $20/hr. with first lesson 

discounted to $15. 

Clients: beginner & intermediate specialist, 

also teach beginning drums 

Styles/Services: all styles 

Notes: Nominated 2007 Best Lead Guitarist 

Rock/Blues (for the second year in a row) and 

2007 Song Of The Year by local rock press. 

MONSTER GUITAR 

7010 Foothill Blvd. 

Tujunga, CA 91042 

818-951-8900 

E-mail: tomrepairshop.gmail.com 

Web: www.monsterguitar.com 

Clients: All Levels / Styles 


MOORE LIVINGSTON MUSIC STORE 

13009 Philadelphia St. 


562-695-4500 




MOREY’S MUSIC STORE INC. 

4834 Woodruff Ave. 

Lakewood, CA 90713 

562-420-9532 

E-mail: info@moreysmusic.com 

Web: www.moreysmusic.com 




MO’S MUSIC MALL 

5527 Cahuenga Blvd. 

N. Hollywood, CA 91601 

818-309-0781, SKYPE 

Contact: Monique Caravello 

E-mail: MomoMusicMall@gmail.com 

Web: www.moomusicmall.com 

IT ALL STARTS HERE. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

April 2013 


63



Basic rate: $85/hour for instrument 

servicing, $45/hour for lessons 

Specialties: Guitar/bass & 

amp servicing, repair, aging & 

restoration. Music lessons available 

via Skype or in person within the 

San Fernando Valley 

MOUNTAIN DOG MUSIC WORKS 

485 N. Ventura Ave., Ste. E3 

Oak View, CA 93022 

806-901-1984 

E-mail: mdmrecording@aol.com 

Contact: Tim Frantz 

Services: Guitar, bass, keyboards, 

recording, song production 

-- lessons are tailored to the 

individual 

MUSICIAN’S DEPOT 

30839 Thousand Oaks Blvd. 

Westlake Village, CA 91362 

818-706-3795 

E-mail: musiciansdepot@sdk3.com 

Web: www.musiciansdepot.biz 



MUSICIANS INSTITUTE 

6752 Hollywood Blvd. 


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 Fax 714-974-0787 

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 



MUSIC WORKS 

4711 Artesia Blvd. 

Lawndale, CA 90260 

310-379-5194 


Clients: beginner to intermediate 


NEAL’S MUSIC 

6908 Warner Ave. 

Huntington Beach, CA 92647 

714-842-9965 

E-mail: guitardealsinfo@aol.com 

Web: www.nealsmusic.com/shop 




NORMAN’S RARE GUITARS 



Store 818-344-8300 

Web: www.normansrareguitars.com 

Basic Rate: $25 per 1/2 hour or 

$50 per hour 



PAUL MURPHY 

2535 Beverley Ave. 


310-804-3581 

E-mail: drmurph@hotmail.com 




Notes: B.M. degree from Berklee 

College of Music, USC M.M. 

in studio guitar, D.M.A. Jazz 

Studies. Serious beginners 

welcome. 

PETE’S MUSIC AND 

GUITAR SHOP 

1742 S. Euclid Ave. 


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 


Sun City, CA 

951-301-8088 

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 

ROCKIT MUSIC 

1039 E. Imperial Hwy., Ste. F1 

Brea, CA 92821 

714 674-0640. 800-633-8808 

E-mail: ian@rockitmusic.com 

Web: www.rockitmusic.com 

Basic Rate: call/e-mail for info 



SANTA MONICA MUSIC CENTER 

1901 Santa Monica Blvd. 


310-453-1928 

E-mail: sales@santamonica 

music.com 

Web: www.santamonicamusic.com 




SINGER MUSIC 

1217 N. Hacienda Blvd. 

La Puente, CA 91744 

626-917-9300 

E-mail: singermuzik@aol.com 

Web: www.singermusic.com 


SOUTHERN CALIFORNIA 

CONSERVATORY OF MUSIC 

22726 Roscoe Blvd. 

West Hills, CA 

818-704-3819 

E-mail: info@sccm.us 

Web: www.sccm.us 



Styles/Specialties: jazz, classical 

Notes: special programs for the 

visually impaired 

SOUTH PASADENA MUSIC 

CENTER & CONSERVATORY 

1509 Mission St. 

South 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 


squidmusic1 




STEIGER 

323-854-1873 

E-mail: steiger@rockguitar.net 

Web: www.projectsteiger.com, 

www.myspace.com/projectsteiger 

Contact: Ken Steiger 


Clients: all levels and all ages 

Styles/Specialties: blues, rock, 

metal and shred 

Notes: Home & office lessons 

available. Exercise handouts and 

jam trax 

STEPHEN DICK 

Mojacar Flamenco 

South Pasadena, CA 91030 

626-403-7489 

E-mail: stephen@ 

mojacarflamenco.com 

PRODUCER - MIXER - STUDIO 

22 million records sold 

# 1 Song on iTunes & Radio - A Grammy 

Our Lady Peace - Kelly Clarkson 

Earshot - Avril Lavigne 

Independent artist rates rival those of entry level producers, mixers, and studios. 

 

Post a free ad seeking musicians 

Find jobs with working bands 

Thousands have used 

us since 1969! 

MusiciansContact.com 

818-888-7879 

Sterling Howard 

Founder/Owner 




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-tec-shop.com 

Web: www.the-tec-shop.com 

Services: We repair all tube and 

solid state amp’s including Fender, 

Gk, Marshall, Roland etc. 

TIMEWARP MUSIC 

12257 Venice Blvd. 

Los Angeles, CA 90066 

323-600-5050 

E-mail: timewarpmusic1@yahoo.com 

Web: www.timewarpmusic.com 


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. 


323-874-9998 




VALLEY MUSIC 

1611 N. Magnolia Ave., Ste. 310 

El Cajon, CA 92020 

619-444-3161 

E-mail: jcsent@att.net 




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: vprstudios1@aol.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: denvermusic 

institute@msn.com 

Web: www.denvermusic 

institute.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: geoff@flesherhinton.com 

Web: www.flesherhinton.com 


OLDE TOWN PICKIN’ PARLOR 

7515 Grandview Ave. 

Arvada, CO 80002 

303-421-2304, 888-421-2304 

E-mail: unclekit@picknparlor.com 

Web: www.picknparlor.com 


Florida 

GUITAR INSTITUTE OF FLORIDA 

AND F.A.M.E. 

6507 N.W. 26th Terrace 

Gainesville, FL 32653 

352-870-4794 

E-mail: guitarflorida@msn.com 

Web: http://jeff.guitarinstructor.info 

Contact: Jeff Lightnin Ladenheim 

MIAMI MUSIC WORKS, INC. 

11771 S. Dixie Hwy. 

Miami, FL 33156 

305-256-1655 

E-mail: miamimusicworks@aol.com 

Web: www.miamimusicworks.com 


RON KAYE’S MUSIC 

INSTRUCTION 

Pensacola, FL 

850-453-9966 

Web: www.rkmusicinstruction.com 

SAM ASH MUSIC CORPORATION 

Paul J. Ash, President 

7726 Cheri Ct. 

Tampa, FL 33634 

1-800-472-6274 

E-mail: help@samash.com 

Web: www.samash.com 

Notes: Serving Musicians 

since 1924 

Georgia 

HOWIE BENTLEY 

Cumming & Alpharetta, GA 

770-889-8520 

E-mail: mail@howiebentley.com 

Web: www.howiebentley.com 

SANDY SPRINGS MUSIC 

5920 Roswell Rd., Ste. D-201 

Atlanta, GA 30329 

404-250-0406 Fax 404-250-0731 

E-mail: info@sandysprings 

music.com 

Web: www.sandyspringsmusic.com 


Hawaii 

CHUCK JAMES MUSIC STUDIO 

Westgate Plaza 

94-360 Pupupani St. 

Waipahu, HI 

808-678-3763 

Web: http:// 

chuckjamesmusicstudio.com 


Stadium Mall Location 

4510 Salt Lake Blvd. 

Honolulu, HI 

808-488-1101 

Central Oahu and North Oahu 

Location 

10 N. Kamehameha High, #1 

Wahiawa, HI 

808-678-3763 

KAILUA MUSIC SCHOOL 

131 Hekili St., #209 

Kailua, HI 96734 

808-261-6142 

E-mail: info@kailuamusic 

school.com 

Web: www.kailuamusic 

school.com/guitar.htm 

Basic Rate: see website 

Illinois 

CENTER SCHOOL OF MUSIC 

900 N. Franklin St. 

Chicago, IL 60610 

312-416-0622 

Web: www.centerschoolof 

music.com 


CHICAGO GUITAR LESSONS 

3021 N. Troy 

April 2013 


65



Chicago, IL 60618 

773-463-0212 

E-mail: guitar@chicago 

guitarlessons.com 

Web: www.chicagoguitarlessons.com 

Contact: Michael Powell 

Basic Rate: $35/hr 

Clients: 16 to 40 years of age 

Styles/Specialties: electric, 

acoustic, rock, fingerstyle 

GUITAR CHICAGO 

Chicago, IL 

312-863-8588 

E-mail: info@guitarchicago.com 

Web: www.guitarchicago.com 


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: http://www. 

andyhymelschoolofmusic.com/ 

ofmusic.com 


COVINGTON SCHOOL OF MUSIC 

857 N. Collins Blvd. Ste. A 

Covington, LA 70433 

985-590-4545 Fax 985-898-0705 

Web: www.laapa.com 


MANDEVILLE SCHOOL OF 

MUSIC 

316 Girod St. 

Mandeville, LA 70448 

985-674-2992 Fax 985-674-2553 



METAIRIE SCHOOL OF MUSIC 

901 Veterans Memorial Blvd. 

Metairie, LA 70005 

504-837-7731 

E-mail: vicki@metairiemusic.com 


metairieschoolofmusic.com/ 

Basic Rate: $75/month 

Services: guitar, bass, vocals, 

piano, drums 

RIVER RIDGE SCHOOL OF 

MUSIC 

2020 Dickory Ave. Ste. 200 

Harahan, LA 70123 

504-738-3050 



Maine 

THE GUITAR STUDIO 

Portland, ME 

207-773-3444 

Web: www.myguitarstudio.com 

Styles: Jazz, Blues, Country, Rock, 

Music Theory 

Services: beginner to professional 

Notes: 25 years of teaching 

experience 

Maryland 

MIKE AULDRIDGE 

PRODUCTIONS 

Silver Spring, MD 

301-733-8271 

E-mail: mikeauldridge@ 

beardguitars.com 

Web: www.mikeauldridge.com 


Massachusetts 

LEEDS GUITARMAKERS’ 

SCHOOL 

12 North Main St. 

P.O. Box 434 

Williamsburg, MA 01096 

413-582-0034 

Web: www.leedsguitar.com 

Cost: please call or see 

web for info 

Michigan 

AXIS MUSIC ACADEMY 

Metro Detroit Area 

248-799-8100 

E-mail: mmoy@axismusic.com 

Web: www.axismusic.com 



29555 Northwestern Hwy. 2nd Fl. 

Southfield, MI 48034 

248-799-8100 

E-mail: southfield@axismusic.com 

42114 Ford Rd. 

Canton, MI 48187 

734-742-1400 

E-mail: canton@axismusic.com 

283 Hamilton Row 

Birmingham, MI 48009 

248-258-9100 

E-mail: birmingham@axismusic. 

com 

GROSSE POINTE MUSIC 

ACADEMY 

19443 Mack Ave. 

Grosse Pointe Park, MI 48230 

313-458-7723 

E-mail: info@grossepointemusic 

academy.com 

Web: grossepointem 

usicacademy.com 



5880 N. Canton Center Rd., 

Ste. 425 

Canton, MI 

E-mail: canton@ 

grossepointemusicacademy.com 

734-418-0640 

Minnesota 

GIRLS ROCK AND ROLL 

RETREAT 

P.O. Box 16094 

Minneapolis, MN 55416 

E-mail: jenny@girlsrocknrollretreat. 

com 

Web: www.girlsrocknrollretreat.com 

Contact: Jenny Case, Program 

Director 

MACPHAIL CENTER FOR MUSIC 

501 S. 2nd St. 


612-321-0100 Fax 612-321-9740 

E-mail: Proctor.Kristin@macphail. 

org 

Web: www.macphail.org 


Apple Valley 

14750 Cedar Ave., S. 

Apple Valley, MN 55124 

Birch Lake Elementary School 

1616 Birch Lake Ave. 

White Bear Lake, MN 55110 

PODIUM, THE 

425 14th Ave. S.E. 


612-331-8893, 

Toll free 866-331-8893 

E-mail: sales@thepodium.com 

Web: www.thepodium.com 


Nevada 

ROBERT ANTHONY 

Iron Mountain Ranch, NV 

702-236-3212 

E-mail: guitar1789@aol.com 

Web: www.robertanthonymusic.com 

Basic Rate: $30/half-hour, 

$50/hour 

New Jersey 

ACADEMY OF DRUMS & GUITAR 

589 Fischer Blvd. 

Toms River, NJ 08753 

732-270-8680 

E-mail: contact@academy 

ofdrums.com 

Web: www.academyofdrums.com 

Contact: Neil Garthly 

Basic Rate: lessons start at 

$25/half-hr. 

Clients: all ages 


& all levels 

IAN MACAULAY 

Haddon Township, NJ 

856-357-7046 

E-mail: info@ian-macaulay.com, 

Web: www.ian-macaulay.com, 

www.myspace.com/ 

ianmacaulaymusic 

TOP TIER GUITAR STUDIO 

177 S. Centre St. Ste. A, 2nd Fl. 

Merchantville, NJ 08109 

609-346-8015 

E-mail: nick@toptierguitarstudio.com 

Web: http://toptierguitarstudio.com/ 

New Mexico 

IAN KAPLAN 

Albuquerque, NM 

E-mail: ian292@yahoo.com 

Web: www.iankaplan.com/lessons. 

html 

Music Production and Recording 

The Séance Room 

 

 

 

Affordable Rates 


Download This This Directory at From www.musicconnection.com/amp 

Our Website 

New York 

THE COLLECTIVE SCHOOL OF MUSIC 

541 Avenue of the Americas 

New York, NY 10011 

212-741-0091 

E-mail: info@thecollective.edu 

Web: www.thecollective.edu 


MATT SCHLATTER 

Brooklyn, NY 

609-923-1048 

E-mail: matt@mattschlatter.com 

Web: www.mattschlatter.com 

Basic Rate: $30/half an hour, $50/hour 

NEW YORK CITY GUITAR SCHOOL 

Recording and Rehearsal Arts Building 

251 W. 30th St., 11th Fl. 

New York, NY 10001 

646-485-7244 

E-mail: info@nycguitarschool.com 

Web: www.nycguitarschool.com 


YMCA CENTER FOR THE CREATIVE ARTS 

301 W. Bloomfield St. 

Rome, NY 13440 

315-336-3500 

Web: http://www.ymcatrivalley.org/about-us/ 

contact-us 


Clients: beginner to expert 

North Carolina 

JIM HICKEY MUSIC 

14100 South Lakes Dr. 

Charlotte, NC 28273 

704-620-5418 

E-mail: jim@jimhickeymusic.com 

Web: www.jimhickeymusic.com 

MUSIC LOFT 

929 N. Church St. 

Greensboro, NC 

336-378-1068 

Web: www.themusicloft.net 

Guitar Instructors: Jeff Swanson, 336-337- 

3331; Jack King, 336-299-0445; Brad Newell, 

919-403-5647 

Bass Instructor: Virginia Masius, 

336-288-7245 

STREET WISE MUSIC 

11318 North Community House Rd. 

Charlotte, NC 

704-219-6756 

Web: www.streetwisemusiconline.com 

E-mail: streetwiserock@carolina.rr.com 


5943 Weddington Rd. 

Matthews, NC 

704-882-5775 

13024 Eastfield Rd. 

Huntersville, NC 

WILL RAY 

Asheville, NC 

828-296-0107 

E-mail: will@willray.biz 

Web: www.willray.biz 

Basic Rate: $75/hr., $100/1&1/2 hrs. 

Clients: intermediate to professional 

Styles/Specialties: country, blues, roots 

*Notes: Currently play with the Hellecasters, 

have instructional DVDs, and have monthly 

column in Guitar Player magazine, can do 

lessons online. 

Ohio 

BRECKSVILLE SCHOOL OF MUSIC 

8945 Brecksville Rd. 

Brecksville, OH 44141 

440-526-1020 

Web: www.brecksvilleschoolofmusic.com 


JAMES FLOOD GUITAR LESSONS 

1508 Belle Ave. 

Lakewood, OH 44107 

216-224-8578 

E-mail: jflood@thesacredarts.org 

Web: www.jamesfloodguitar.com 

Styles/Specialties: basic & classical guitar 



Pepper Pike 

30500 Fairmount Blvd. 

Pepper Pike, OH 44124 

1519 S. Green Rd. 

South Euclid, OH 44121 

MOTTER’S MUSIC HOUSE, INC. 

5228 Mayfield Rd. 

Lyndhurst, OH 44124 

440-442-7470 Fax 440-461-3631 

E-mail: mottersmusic@hotmail.com 

Web: www.mottersmusic.com 

Basic Rate: $16/half-hr. 


4242 Boardman Canfield Rd. 

Canfield, OH 44406 

330-533-3600 

SKYLINE MUSIC 

27010 Center Ridge Rd. 

Westlake, OH 44145 

440-871-4140 Fax 440-871-6892 

E-mail: skyline@skylinemusic.com 

Web: www.skylinemusic.com 


Oregon 

MANSELLES MUSIC SHOP 

4808 S.E. Ina Ave. 

Milwaukie, OR 97267 

503-659-9817 

E-mail: sales@mansellesmusic.com 

Web: www.mansellesmusic.com 


NEWBERG MUSIC CENTER 

514 E. 1st. St. 

Newberg, OR 

503-537-2196 

E-mail: newbergmusic@ 

newbergmusiccenter.com 

Web: www.newbergmusiccenter.com 


STARFISH STUDIOS 

2240 SE Hawthorne Blvd. 

Portland, OR 97214 

503-847-9605 

Web: www.starfishstudios.com 

Contact: Yascha Noonberg 


Styles/Specialties: we teach guitar, bass, 

piano, drums, voice, violin, viola, cello, sax, 

clarinet, flute, mandolin, trombone, trumpet 

Pennsylvania 

CLASSICAL GUITAR STORE, THE 

2038 Sansom St. 


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

April 2013 


67



Philadelphia, PA 19103 USA 

215-567-2972 

E-mail: info@classical 

guitarstore.com 

Web: www.classicalguitarstore.com 



Styles/Specialties: classical, folk, 

blues, rock and jazz playing styles 

Tennessee 

COTTON MUSIC 

434 Houston St., Ste. 131 

Nashville, TN 37203 

615-383-8947 Fax 615-383-9932 

E-mail: guitars@cottenmusic.com 

Web: www.cottenmusic.com 


GARY TALLEY 

620 West End Cir. 

Franklin, TN 37064 

615-370-4760 Fax 615-370-4760 

E-mail: gary@garytalley.com 

Web: www.garytalley.com 


GENE FORD MUSIC 

330 Franklin Rd. 

Brentwood, TN 37027 

615-371-1661 

E-mail: geneford@geneford 

music.com 

Web: www.genefordmusic.com 


GUITAR SCHOOL OF 

NASHVILLE 

Nashville, TN 

E-mail: janet.mclaughlin3@ 

gmail.com 

Web: www.guitarschool 

ofnashville.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.jonathanfletcher 

music.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.marksmusic7.com 


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, Texas: 512-301-8589 

E-mail: info@ 

mobilemusicacademy.com 

Web: www.mobilemusicacademy. 

com 

Contact: Jonathan Gaertner 

Basic Rate: depends on area. 

Clients: all ages 

Styles/Specialties: most styles 

and specialties 

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: bob.wilson@mnps.org 

Web: http://www.nsahs.mnps.org/ 

site215.aspx 


SHUFF’S MUSIC 

118 3rd Ave. N. 

Franklin, TN 37064 

615-790-6139 

Web: www.shuffsmusic.com 

E-mail: zach@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 

Where the music landscape of 

tomorrow is created ... 

Today, artists and managers have more skin in the game of 

career development and sales than ever before. 

Music Biz 2013 will give you the tools needed to advance your 

career or that of the artist you manage. Get answers to your 

questions from music veterans and industry decision-makers. 

Music Biz Academy 

Learn to navigate the music biz ecosystem. Two-day course highlighting 

the function of labels and publishing, as well as consumer behavior. 

Music & Brand Partnerships 

Invaluable tips on how you can infiltrate corporate America with your 

music. Win a chance to have your music featured by a name brand. 

Website Demolition Derby 

Live musician web site critiques will determine if an artist's web site 

successfully achieves the artist’s goals. 

Artist Managers Town Hall 

Explore strategies to build a successful YouTube 

following, as well as bring live music direct to 

fans, without the expense of touring. 

Register for as low as 

$159. Call 856.596.2221 

for more details. 

Visit musicbiz2013.com 

for more information and to register. 

DONT MISS THE 53RD ANNUAL 

 

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Over 100 Contestants, Performances, 

Jamming Musicians, Folk Singing, 

Folk Dancing & Children’s Activities! 

SUNDAY, MAY 19 

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FEATURING: 

 

 

 

 

 

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www.TopangaBanjoFiddle.org info@topangabanjofiddle.org Hotline 818-382-4819 

 




Web: www.dallas-music.net 


DALLAS SCHOOL OF MUSIC, 

INC., THE 

2650 Midway Rd., Ste. 204 

Carrollton, TX 75006-2378 

972-380-8050 

E-mail: help@dsminfo.com 

Web: www.dsminfo.com 


FRISCO SCHOOL OF MUSIC 

9255 Preston Rd. 

Frisco, TX 75034 

972-377-5977 

E-mail: music@mcot.com 

Web: www.friscoschoolmusic.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: performancebased 

women’s guitar and 

songwriting classes with a glass 

of wine! 

JOE THE GUITARMAN 

Xena Studios Dallas 

2506 Montalba Ave. 

Dallas, TX 75228-2622 

E-mail: joe@joetheguitarman.com 

Web: www.joetheguitarman.com 

Basic Rate: $60/hr. 



LONESTAR SCHOOL OF MUSIC 

4301 W. William Cannon Dr. 


512-712-5187 

E-mail: arbortrails@ 

lonestarschoolofmusic.com 

Web: www.lonestarschoolof 

music.com 


MIKE ELLIS MUSIC 

INSTRUCTIONS 

9450 Skillman St., Ste. 101 

Dallas, TX 75238 

469-855-6865 

E-mail: comments@ 

ellismusiclessons.com 

Web: www.ellismusiclessons.com 

Basic Rate: $20/half-hr., paid 

monthly 


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 

3124 Sandage Ave. 

Fort Worth, TX 76109 

888-361-5838, 817-923-6300 

E-mail: sales@traditionguitars.com 

Web: www.traditionguitars.com 

Virginia 

MURPHY METHOD, THE 

P.O. Box 2498 

Winchester, VA 22604 

800-227-2357 

E-mail: info@murphymethod.com 

Web: www.murphymethod.com 


Washington 

BELLEVUE SCHOOL OF MUSIC 

2237 140th Ave. N.E. 

Bellevue, WA 98005 

425-401-8486 

Web: www.bellevueschoolof 

music.com 


BOWLING MUSIC STUDIOS 

7217 Chico Way N.W. 

Bremerton, WA 98312 

360-692-7419 

Web: www.bowling 

musicstudios.com 


DO YOU WANT TO BE ON 

THE 1st PAGE OF 

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We’ll SHOW you how 

to get there for $249 

METER MUSIC SCHOOL 

2110 East Union St. 

Seattle, WA 98122 

206-792-9039 

E-mail: frontdesk@ 

metermusicschool.com 

Web: www.metermusicschool.com 

Basic Rate: $35/half-hr., group 

lessons are $20/hr. 

MUSIC WORKS NORTHWEST 

14360 S.E. Eastgate Way, Ste. 102 

Bellevue, WA 98007 

425-644-0988 Fax 425-644-0989 

E-mail: registration@ 

musicworksnw.org 

Web: www.musicworksnw.org 


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 

WE’LL MAKE YOU A 

ROCKSTAR ON GOOGLE 

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Readers 

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WEBSITE TRAFFIC ANALYSIS 

951-777-2508 

SCAN OR CALL 

Menon “MUSIC CONNECTION” 

 

April 2013 


69




206-763-9700 

West Virginia 

GORBY’S MUSIC, INC. 

214 Seventh Ave. 

S. Charleston, WV 25303 

304-744-9452, 800-642-3070 

E-mail: info@gorbysmusic.com 

Web: www.gorbysmusic.com 


Wisconsin 

MICHAEL BARTON 

Milwaukee, WI 

920-915-TUNE (8863) 

E-mail: infol@ambadextro.com 

Web: www.ambadextro.com 


SONG CYCLES MUSIC STUDIO 

1425 W Mason St 

Green Bay, WI 54303 

920-490-8793 

E-mail: bsmeall@berklee.net 

Web: www.songcycles.net 

Contact: Benjamin Smeall, Director 

Bass Instructors 

& Services 

Nationwide 

GUITAR CENTER 

*See guitar listing for info 

Arizona 

ARIZONA MUSIC ACADEMY 

1700 E. Elliot Rd. Ste. 11 


480-705-0875 

Web: www.arizonamusic 

academy.com 

BASS IN THE HOUSE MUSIC 

INSTRUCTION 

Tempe, AZ 

480-457-9522 

E-mail: bassinthehouse@gmail.com 

Web: www.bassinthehouse.com 

Contact: Mario DeSantis 

Basic Rate: $30 40 min. lesson 

wk., billed monthly. 

*Notes: In-home instruction. 

Discounts available 

TONAL CENTER GUITAR 

INSTRUCTION 

1051 W. University Dr. 


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 


AMP SHOP/BASS EXCHANGE 


AMUSE 


ANAHEIM HILLS GUITAR AND 

BASS LESSONS 


ARCADIA MUSIC CENTER 


BARKER’S MUSIC 


BAXTER/NORTHUP MUSIC 


BOULEVARD MUSIC 


BUNNY BRUNEL 

24310 Moulton Parkway #0-178 

Laguna Woods, CA 92637 

800-300-0950 

Carvin-Hollywood, CA 

Carvin-San Diego, CA 

E-mail: info@bunnybrunel.com 

Web: www.bunnybrunel.com 




*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. 


951-898-2630 

E-mail: info@lahabramusic.com 

Web: www.lahabramusic.com 



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 & 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: Ultra 

experienced lead singer & bassist 

in countless professional bands 

the styles of rock, funk, blues & 

R&B, bass & vocal technique, 

breathing & placement of voice 

ranges, intervalic & rhythmic 

concepts, chart reading, music 

theory, ear training, interpretation, 

improvisation, etc. 

Qualifications: Musicians Institute 

Vocational Honors Graduate & 

MI Human Relations Award 1994- 

’95. Grammy-Winning Bassist for 

Evanescence’s Multi-Platinum 

“Fallen” Album. Have played with 

Robert Plant, Chris Poland of 

Megadeth, Ronnie Montrose, Alex 

Leigertwood of Santana, Randy 

Meisner of the Eagles, Jimmy 

Crespo of Aerosmith, Dweezil 

Zappa, etc. 

FULLERTON MUSIC CENTER 


GEOFFREY MCCABE 


GILMORE SCHOOL OF MUSIC 


GO FAR GUITAR SCHOOL 


GRAYSON’S TUNE TOWN 


GUITAR, BASS & AMPLIFIER 

REPAIR AND TECHNICAL 

SERVICES 


HERB MICKMAN 

Van Nuys, CA 

818-990-2328 




Notes: Electric and string 

bass only. Teaching since 1960 

and former head of the bass 

department at the Grove School. 

Former students hired by over 40 

prominent recording artists. 




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: http://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 


KASHA AMPLIFIERS, INC. 


KAYE’S MUSIC SCENE 


LAGUNA HILLS MUSIC 


LA HABRA MUSIC 


LA MIRADA MUSIC 


LARRY LARSON MUSIC STORE 


LONG BEACH SCHOOL OF 

MUSIC 


MARINI MUSIC 


MARSHALL MUSIC 


McCABE’S GUITAR SHOP 


MICHAEL T. 


MOORE LIVINGSTON MUSIC 

STORE 


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 


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 


VALLEY MUSIC 


VENTURA MUSIC 


VPR STUDIOS 


WOODLOWE MUSIC CENTER 


WORLD MUSIC 


Colorado 

BROADWAY MUSIC SCHOOL 


DENVER MUSIC INSTITUTE 


FLESHER-HINTON MUSIC 

COMPANY 


Florida 

MIAMI MUSIC WORKS, INC. 


RON KAYE’S MUSIC 

INSTRUCTION 


SAM ASH MUSIC CORPORATION 


Georgia 

HOWIE BENTLEY 


PRO-MAESTRO MUSIC 


RUSS RODGERS 

Georgia 

404-386-0983 

E-mail: russrodgers@gmail.com 

Web: www.russrodgers 

bassguitar.com 

VISION MUSIC LIVE 

Atlanta, GA 

404-229-1282 

E-mail: info@visionmusiclive.com 

Web: www.visionmusiclive.com 


Hawaii 

CHUCK JAMES MUSIC STUDIO 


Illinois 

CENTER SCHOOL OF MUSIC 


CHICAGO GUITAR LESSONS 


MUSICAL EXPRESSIONS OF 

ILLINOIS, LLC 


Louisiana 

ANDY HYMEL SCHOOL OF 

MUSIC 


LON COHEN STUDIO RENTALS 


ROCKIT MUSIC 


OLDE TOWN PICKIN’ PARLOR 


COVINGTON SCHOOL OF MUSIC 


April 2013 


71



MANDEVILLE SCHOOL OF 

MUSIC 


METAIRIE SCHOOL OF MUSIC 


RIVER RIDGE SCHOOL OF 

MUSIC 


Maine 

THE GUITAR STUDIO 


Maryland 

MARYLAND BASS LESSONS 

410-299-4744 

E-mail: dave@davedemarco.com 

Web: www.davedemarco.com 

Contact: Dave DeMarco 

Massachusetts 

OSCAR STAGNARO 

Boston, MA 

E-mail: ostagnaro@gmail.com 


oscarstagnaromusic.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 York 

IAN KAPLAN 


North Carolina 

JIM HICKEY MUSIC 


MUSIC LOFT 


STREETWISE MUSIC 


New York 

COLLECTIVE SCHOOL OF 

MUSIC, THE 


KEVIN DELANEY 

251 W. 30th St. 9th Floor 

New York, NY 

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 

New York, NY 

E-mail: ritt@ritthenn.com 

Web: www.ritthenn.com, myspace. 

com/ritthenn, youtube.com/ 

manbassboxtv 


Clients: all levels, acoustic and 

electric bass 


Notes: played with Tom Jones, 

Chuck Berry and Buddy Rich, 

though unfortunately not at the 

same time. 

Ohio 

BRECKSVILLE SCHOOL OF 

MUSIC 


Oregon 

MANSELLES MUSIC SHOP 


NEWBERG MUSIC CENTER 

514 E. 1st. St. 

Newberg, OR 

503-537-2196 

E-mail: newbergmusic@ 

newbergmusiccenter.com 

Web: www.newberg 

musiccenter.com 


STARFISH STUDIOS 


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 


E-mail: piano@lmmusicstudio.com 

Web: www.lmmusicstudio.com 


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—BRIAN TARQUIN 

Selling Your 

Royalties? 

Be Careful! 

re you an artist who has considered selling his old music catalog 

and still make money from it? Everyone seems to know something 

Aof the value of selling their publishing, but not everyone recognizes 

the intricacies of selling their writer’s royalties. I must have Googled this 

topic a hundred times, but there really is very little information out there. I 

believe it is such a specialized topic, that few people have travelled down 

this road. I’ve done research in the past couple years, however, and 

found out some enlightening things. For one, the writer’s royalty share 

of, say, ASCAP, SESAC and BMI, can be a very valuable commodity 

to outside investors. Because of the huge swings in the stock and real estate 

markets, more and more investors, both independent and corporate, 

are venturing into attaining entertainment royalties, which don’t fluctuate 

during recessions. But with the good comes the bad. I want artists to be 

aware of whom to steer away from and what is a sensible deal. So read 

on if you’re interested in some friendly advice for artists who want to earn 

money from old catalog. 

Understand Breakdown of Royalties to Sell 

You should understand that a song has two sides as far as public performance 

royalties go. Those are collected by what is commonly referred to 

as PROs (performing right organizations) in the United States––ASCAP, 

BMI, SESAC. Now you have writers’ and publishers’ sides that are valued 

the same, as far as royalties paid by the 

PROs. In other words, if a song is placed 

on a daytime TV show and earns $130 

for the writer, then the publisher side of 

this song for the same placement will 

earn the same amount. 

So from the standpoint of the performance 

royalties, they are basically 

of equal value (don’t confuse this with 

sync fees or mechanical royalties). 

Even if you don’t control the publishing side of the song or even the copyright, 

you can still sell your writer royalty stream. 

For example, say you have a catalog of songs that have been earning 

an average of 25k per year, the common sales multiple is usually four to 

five times the average. Hence this catalog would be worth 100k to125k. 

There are some companies/individuals that may value the catalog a little 

higher or lower depending on the intrinsic value they put on the catalog; 

for example, hit songs, television themes, etc. At the end of the day it really 

depends on how eager an investor is to acquire the catalog. 

Know the Sales Breakdown 

Generally there are two ways of earning money on your catalog: 

 

 

There are a couple of ways the advance works. One is when a company 

will offer a modest advance, usually no more than the total yearly income. 

They collect 100 percent of your writer’s catalog until the advance is recouped, 

plus a very high interest rate. Investment bank companies have 

been known to offer high advances plus a high interest rate, and then 

take 50 percent of the writer’s side for life. 

I have been offered this type of deal and advise to keep clear of it 

because they are not buying that 50 percent of your writer’s side, just 

giving you an advance/loan and will collect the advance 100 percent until 

recouped––plus hitting you with a high interest rate (in the 20 percent 

“There are certainly a lot of 

scammers out there; so be aware 

and stay clear of them.” 

range) while taking 50 percent of your writer’s side. Absolutely ridiculous! 

The only way that model would work is considering the large advance 

as the purchase of the 50 percent writer’s and there would be no 

recoupment at all. Hence from that point further they collect 50 percent 

of the writer’s. 

My advice is the second option––selling the catalog outright. It is the 

best and quickest way to make money from your older catalog. (For the 

right price, of course.) Plus you don’t have to sell 100 percent of your 

writer’s either; you may only want to sell 25 percent or even 10 percent, 

but keep in mind the purchase price will drop with the smaller percentages. 

You have no “so-called” investment partners with the buy-out model 

and you are not obligated to pay back an advance via recoupment, which 

in some cases leaves you liable for the unrecouped amount if not paid 

back within a period of time. 

Work With People You Can Trust 

As you can imagine, there are certainly a lot of scammers out there; 

so be aware and stay clear of them. I must admit that this was a very 

scary thing for me when I first investigated the possibility of selling of my 

writer’s royalties. I found out a lot about how little people in general know 

about royalties (outside of the music community). 

Based on my experience, I advise you to stay away from investment 

bankers, equity companies, oil companies 

and “so-called” family trusts. These 

people are just trying to get a leg in the 

music business and do not understand 

the first thing about music royalties. Believe 

it or not, I found myself explaining 

to these people how ASCAP, SESAC 

and BMI work and how they collect 

monies from the various broadcast 

licensors. 

It seems to me that if you are going to invest into a business you would 

at least know how the hell it works, even just the basics. I had been offered 

a few of these deals from companies and when I accepted them after 

negotiations, they were abruptly pulled off the table, and believe me it happened 

more than once. From my perspective, this behavior came across 

as very shady and dishonest. 

The good news is there is a new company out there that does sell writer’s 

royalties and has had success doing so in the past year. The company is 

called Royalty Exchange, which is an online auction, run by entrepreneur 

Sean Peace. He has good financial connections that can hook writers up 

with the right buyers. I must warn you that this is not an overnight sale––it 

can take months to sell a catalog or not sell at all––but still, in my particular 

case, Sean proved to be committed and closed the deal. What worked for 

me is that he had the contacts in the money world. I have dedicated my life 

to all facets of the music industry, from composer to artist to producer, and 

never had ties with the banking “suits” of the world, so Royalty Exchange 

was the perfect connection 

for me. 

The bottom line is to go 

with your instincts––do 

your research before you 

sign on the dotted line. 

And, as always, if you’re 

not absolutely sure about 

something, get a lawyer 

to look it over. 

MICRO-BIO: Winner of multiple Emmy Awards, 

composer Brian Tarquin has established himself as a 

top-rate TV composer-guitarist. In 2006 SESAC honored 

him with the Network Television Performance Award. 

Tarquin produced and composed the Guitar Masters 

series, trading licks with such guitar greats as, Leslie 

West, Steve Morse, Billy Sheehan, Frank Gambale, 

Andy Timmons, Chris Poland (Megadeth) and Hal 

Lindes (Dire Straits). Visit http://tvfilmtrax.com. 



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