Songwriters - Music Connection

Vol. 36, NOVEMBER 2012 • U.S. $3.95/$4.95 Canada 

www.musicconnection.com

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blood, sweat and tears into perfecting your performance. Your PA had 

better be able to keep up. The New Shape of Sound – Mackie DLM 

MACKIE.COM/DLM 

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When it comes to music, 

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If you're looking for FRESH MATERIAL from NEW BANDS, COMPOSERS and SONGWRITERS 

... give us a call ! Log on to our WEBSITE at BMI.COM to find out who owns 

the SONGS you're after for your SOUNDTRACK! BMI can turn you on to MUSIC 

SUPERVISORS, FILM MUSIC AGENTS, MUSIC PUBLISHERS, ONLINE MUSIC RESOURCES, 

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information about LICENSING, CLEARANCES AND SYNCHRONIZATION RIGHTS. 

CONTACT: DOREEN RINGER ROSS, RAY YEE, LISA FELDMAN, ANNE CECERE 

OR PHIL SHRUT IN THE FILM AND TELEVISION DEPARTMENT, LOS ANGELES OFFICE, 

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VIRTUALLY INDISPENSABLE 

BMI IS A REGISTERED TRADEMARK OF BROADCAST MUSIC, INC.

contents November 

Cover Stories 

Cover Photo and InsIde By: Frank MaddoCks 

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 

56 

36 

November 2012 www.musicconnection.com 

“Celebrating Years” 

Gary Clark Jr. 

Songwriting Conferences 

Career-minded songwriters have plenty of choices when it comes to attending 

music conferences. But how do you decide which are best for your brand of 

music? Music Connection dissects all of the songwriter-centric confabs in the 

US to give you an insightful, insider's perspective on each. 

Compiled By Denise Coso 

By Dan Kimpel 

Directory of Film/TV Music Supervisors & 

Post-Production 

Whether you're DIY or signed to a label, connecting with a key music 

supervisor can be a major career break. This list (which also includes a stateby-state 

list of post-production facilities) will make the task easier. 

Thanks to his jaw-dropping performances at Bonnaroo and 

guest appearances with Sheryl Crow and Alicia Keys, this 

28-year-old guitar slinger has built a giant buzz through 

hard work and uncommon talent. In our candid Q&A, MC 

finds out how this Texas-bred heatseeker––even before 

his major label debut––has come to be hailed as “the 

next Hendrix.” 

By Gary Graff 


40 

Directory of Music Publishers 

Music Connection keeps close tabs on the music publishing world in our 

Song Biz section each month. And once per year we feature this unique, 

updated list of companies that handle the lucrative business of song 

royalties. Check it out so you can start reaching out! 

20. Producer Crosstalk: PJ Bianco...................................................................By Rob Putnam 

22. Exec Profile: Chris Callahan, Planetworks............................................By Andy Kaufmann 

30. Songwriter Profile: Marti Frederiksen.........................................................By Dan Kimpel 

44. Expert Advice: Write Songs with Your Bandmates!..................................By Robbie Gennet 

78. Tip Jar: Indie Music Licensing NOW......................................................By Brian Tarquin 

64 

2012 • Vol. 36 • No.11 

46. TuneSat 

MC explores this monitoring service, which 

can scour the TV and Internet universe to 

get you paid for the use of your songs. 

By Albert Vega 

Departments 

08. Close Up 

09. Assignments 

10. New Toys 

14. Book Store 

16. Up Close 

18. Studio Mix 

23. Business Affairs 

26. Signing Stories 

28. Song Biz 

32. Film/TV/Theater 

34. Mixed Notes 

Reviews 

48. CD Reviews 

50. New Music Critiques 

52. Live Reviews 

Be Sure To follow 

Music Connection on 

Facebook and Twitter. 

Check out our AMP 

Social Space and 

online magazine 

for up-to-date 

music news.

NEW 

DTX400K 

• DTX400 Drum Trigger Module with 297 high-quality sounds 

• 7" Drum Pads designed for greater playability and durability 

• Large 10" cymbals and Hi-Hat cymbal 

• KU100 Silent Kick Unit for quiet play anywhere 

• 10 Preset kits (all of which can be overwritten) 

• 10 interactive Training Functions with Voice Guidance 

• 10 play-along songs 

DTX400K 

$ 499 .99 

Estimated street price 

©2012 Yamaha Corporation of America. All rights reserved. 

The NEW YAMAHA 

DTX400 Series 

It pulses you with a beat that’s all your own – calling you to join 

the universal groove. The DTX400 Series is your passport 

into the world of drumming. 

Combining Yamaha’s expertise in drums and technology, 

the DTX400 Series features dynamic acoustic drum and percussion 

sounds, plus modern rock drums and electronic tones. Drummers of 

all levels will enjoy the full size kit and durable steel rack system. 

Customize kits to match your style, and practice with 10 interactive training 

functions with Voice Guidance - it’s like having a talking drum teacher 

built in! Play along with the musical practice songs or AUX input 

and develop the chops to play on acoustic drums. These kits combine 

affordability with renowned Yamaha quality for a value that can’t be beat! 

All the features of the DTX400K plus: 

•TP70S 3-zone snare pad for head, rim-shot, side-stick 

• KP65 kick pad with Yamaha FP6110 bass drum pedal 

• HH65 hi-hat controller allows “half-open” hi-hat sounds 

DTX450K 

$699 .99 

Estimated street price 

NEW 

DTX450K

6 November 2012 www.musicconnection.com 

GENERAL MANAGER/ 

ADVERTISING DIRECTOR 

E. Eric Bettelli 

ericb@musicconnection.com 

OPERATIONS MANAGER 

Denise Coso 

denisec@musicconnection.com 

MARKETING/ADVERTISING 

MANAGER 

Hillorie Rudolph 

hillorier@musicconnection.com 

ACCOUNT EXECUTIVE/ARTIST 

RELATIONS 

Mira Abas 

mira@musicconnection.com 

ADVERTISING ART DIRECTOR 

Gary J. Stephens 

garys@musicconnection.com 

NEW TOYS 

Barry Rudolph 

barry@barryrudolph.com 

DIRECTORY EDITOR 

Denise Coso 

mcdirectories@musicconnection.com 

EDITORIAL INTERN 

Karen Emmert 

intern@musicconnection.com 

PUBLISHER 

E. Eric Bettelli 

ASSOCIATE PUBLISHER/ 

SENIOR EDITOR 

Mark Nardone 

markn@musicconnection.com 

ART DIRECTOR 

Cesare Perrino 

artdirector@musicconnection.com 

DIRECTOR OF ONLINE OPERATIONS 

Mukul Chauhan 

mukulchauhan16@gmail.com 

ASSOCIATE EDITOR 

Andy Mesecher 

andym@musicconnection.com 

CONTRIBUTING EDITOR 

Bernard Baur 

bbatmc@aol.com 

SONG BIZ 

Dan Kimpel 

dan@dankimpel.com 

FILM, TV, THEATER 

Tom Kidd 

prespak1@verizon.net 

FEATURE WRITERS 

Andy Kaufmann 

andy.kaufmann@comcast.net 

Rob Putnam 

toe2toe6@hotmail.com 

CONTRIBUTING WRITERS 

Jessica Aves, Allegra Azzopardi, Bernard Baur, Fuchsia Black, Brett Bush, Stefan Broadley, 

Gary Graff, Eric A. Harabadian, Oscar Jordan, Andy Kaufmann, Dawna Kaufmann, David 

Kershenbaum, Kim Mack, Josè Martinez, Dean Moore, Paula Muñoz, Jessica Pace, Rob Putnam, 

Tim Reid Jr., Daniel Siwek, Matt Schild, Brian Stewart, Laurier Tiernan, Albert Vega, Catherine 

Veit, Jonathan Widran, Ellen Woloshin. 

PHOTOGRAPHERS 

Jessica Aves, Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Scott Dudelson, 

Kevin Estrada, Oscar Jordan, David Klein, Thomas Long, Kim Mack, Cindy Miley, Paula Muñoz, 

Jessica Pace, Scott Perham, Rob Putnam, Tim Reid Jr., Daniel Siwek, Brian Stewart, Dave Stone, 

E. H. Tiernan, Albert Vega. 

Manufactured and printed in the United States of America, 

Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 14654 Victory Blvd., 

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which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without 

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necessarily reflect the views of Music Connection, Inc. Copyright © 2012 by E. Eric Bettelli. All rights reserved. 

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

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

Subscribe to MC NOW! musicconnection.com/store/subscriptions/

ASCAP pays members for live performances at venues of any size. 

You can now receive royalties when your music is 

performed live at venues of all sizes throughout the 

country. Just provide the basic details of the performance 

and which of your songs were performed and you’ll 

receive an OnStage payment with your normal ASCAP 

distribution. It’s that simple. 

Make ASCAP OnStage a regular part of your post-show 

routine, no matter how big or small the venue. 

www.ascap.com 

• Payment for each live performance 

• Track your live performances 

• Save multiple setlists for easy submission 

• Available now 24/7 via your Member Access account 

• Available via ASCAP Mobile in January 2013

Sound Sound Advice... Advice... 

We are a 4-year college that takes music as seriously as you do. 

Learn Audio Recording for Live Performances, Movies, TV & Gaming 

Open House Saturday, November 17 at 1 PM 


www.facebook.com/fivetownscollege 

632.656.2110 305 N. Service Road Dix Hills, NY 11746 www.ftc.edu 

• AUDIO RECORDING TECHNOLOGY • COMPOSITION/SONGWRITING • MUSIC TEACHER EDUCATION 

• MUSIC BUSINESS • MUSIC PERFORMANCE • MUSICAL THEATRE • MUSIC TECHNOLOGY • MUSIC HISTORY 

323.363.2339 

www.mikewellsmastering.com 

CLOSE-UP 

By Jonathan Widran 

Barry Coffing brings a diverse resume as an industry professional to his 

increasingly successful database-driven website service http://music 

supervisor.com—which grew out of Uprising Entertainment, the original 

licensing and placement service he launched with other composer and 

music supervisor friends in 2004. 

In addition to creating music for live stage shows for industrial clients like 

Apple and Compaq, the Emmy-nominated composer has penned over 200 

custom pieces of music for �lm and TV and has had his songs recorded 

by Randy Travis, Michael McDonald, Cyndi Lauper and Randy Crawford, 

among others. He has also produced everyone from Tiffany to Chaka Khan. 

Touted as the “fastest way to license music,” Musicsupervisor.com has 

scored placements in a wide variety of major studio and independent �lms 

and hit TV shows, including The Blind Side, Swing Vote, Invincible, Doubt, 

Blades of Glory, Dexter and Lost. Their clients include CBS, NBC, ABC, 

HBO, Paramount, Warner Bros., USA Network, 20th Century Fox, Showtime, 

ABC Family, Universal, Fox, Sony and the Discovery Channel. 

For music supervisors looking to license material for their projects, the 

site is free to sign up and use—it only requires payment for music that is 

licensed. It offers a searchable online catalog boasting over 120,000 tracks; 

automated software that provides instant pricing, check out and digital delivery 

of all licenses and music; and extra services, including music clearance 

from famous artists, music supervision and music compositions. Though 

most searches and transactions can be accomplished automatically, Music 

supervisor.com has a staff on hand that will assist users with guided 

searches, using creative and budgetary challenge information to help �nd 

the perfect track. 

A simple “tour” on Musicsupervisor.com shows how easy it is to �nd and 

license music. Users can search by keywords, song titles, lyrics, tempo, 

“sounds like” (a famous artist), featured instruments and vocals and by decade. 

They can then re�ne a search to narrow their results or retrieve a past 

search to �nd what they need quickly. Users can then listen to and download 

full versions of any track while reading about the artist or composer. There 

are also functions which allow users to keep track of their projects past and 

present, “spotting notes” that allow them to save music into playable lists 

while adding scene numbers or notes, and automatic pricing which allows 

users to stay on budget. 

Coffing devotes a great deal of time locating exotic but sometimes spot 

on sonic oddities that expand the database to include Russian bluegrass, 

Portuguese fado and Vietnamese love songs. There is also a category on 

the site for “inde�nable” music that doesn’t �t traditional categories. He regularly 

attends world music conferences like MIDEM and WOMEX, along with 

indie-driven events like SXSW and CMJ, to �nd new artists and material to 

include. But the success of the service is now self generating to the point 

where they receive over 2000 songs per month from artists, labels, etc. 

Those seeking to offer their material for licensing have options too. It’s 

free to sign up and upload music—which is reviewed by the staff for quality 

assurance. While the company and the artist split the upfront money 50/50, 

the composer or artist get 100 percent of the backend performance royalties. 

It’s also a non-exclusive agreement, meaning users are allowed to 

have other people pitch their music—and if they place it, nothing is owed to 

Musicsupervisor.com. Those registering their compositions with the site can 

leave anytime, simply by giving 30 days notice. Musicsupervisor.com will 

never re-title tracks and take any publishing royalties; the provider maintains 

100 percent ownership. There is also a free tracking system: providers see 

every time their song has been searched, listened to or licensed in real time. 

Tracks can be uploaded from the provider’s desktop, and providers can 

enhance their “Artist Pro�le” by added photos, album art, bio and social media 

inks so music supervisors can get better acquainted with them. 

Coffing says, “We’re like the Century 21 for music, putting together buyers 

and sellers, doing all the paperwork and taking a small piece out of the 

deal.” 

Contact Barry Coffing, 310-738-3800

ASSIGNMENTS 

David Lavin 

VP, New Media 

BMI 

Broadcast Music, Inc. (BMI) has 

announced the appointment of David 

Levin as Vice President, New Media. In 

this role, he will be responsible for the 

growth of digital revenues; developing 

strategies to address digital market 

needs; and managing day-to-day sales, 

business development functions and 

staff for BMI’s New Media licensing business. Levin will be based in BMI’s 

New York headquarters. Prior to BMI, Levin spent 12 years at Sony 

Music Entertainment, where he was most recently Senior Vice President, 

Digital Sales, managing the music company’s digital commercial and ad 

supported businesses. For further information about Lavin’s appointment, 

contact Jamil Walker, jwalker@bmi.com. 

John Janick 

President and CEO 

Interscope Geffen A&M 

John Janick has been named President 

and Chief Operating Officer of Interscope 

Geffen A&M. Janick joins the company 

after 16 years spent running the highly 

regarded indie label he co-founded, 

Fueled By Ramen, where artists such as 

Fall Out Boy, fun., Paramore, and Panic! 

at the Disco became commercial and 

critical hits. Janick began Fueled By Ramen in his dorm room while an 18-yearold 

freshman at the University of Florida in Gainesville. Since 2009, he was 

simultaneously co-president of Elektra Records, which he relaunched with the 

success of artists Bruno Mars and Cee Lo Green. Janick has relocated to Los 

Angeles for his new position, where he will be working at the Interscope Geffen 

A&M offices in Santa Monica. Contact 310-865-5675. 

Michael Hansen 

Sales 

Schecter 

Schecter Guitar Research has 

announced the addition of Michael 

Hansen to the Schecter Sales staff. 

Hansen has had a working relationship 

with Schecter for over 11 years as the 

Retail Forecaster in the Planning and 

Allocation department for Guitar Center 

Corporate. In addition to his experience 

in the music instrument industry, Hansen has also worked in Corporate 

Sales and Planning with Warner Brothers Studio Stores, Wal-Mart, K-Mart 

and Target. Comments Hansen on the new role, “I knew Schecter was a 

special company when I first started working with them over 10 years ago. 

So, I didn’t hesitate when I was approached to become a member of the 

team.” Contact aj@schecterguitars.com for more information. 

Michael MacDonald 

President 

ATK Audiotek 

Michael MacDonald has joined audio 

production company ATK Audiotek, as 

President. MacDonald will take over 

the duties and leadership of the company’s 

business development, sales and 

marketing programs, coincident with the 

retirement of outgoing President Michael 

Stahl. MacDonald joins ATK with over 

three decades of experience in the professional audio industry, most 

recently having served for five years as Vice President of Sales and 

Marketing at HARMAN Professional. Prior to HARMAN, Michael operated 

a successful consulting business at Pilot Business Strategies. Contact 

Margaret Sekelsky at margaret@msmediainc.com or 310-823-5805. 

Jack Thompson 

VP, Sales and Marketing 

Music Distributors Group 

Musical Distributors Group (MDG) 

has named Jack Thompson Vice 

President of Sales and Marketing for 

its core business and affiliated brands. 

He will handle the day-to-day aspects 

of sales, promotions, marketing as well 

as business development. An industry 

veteran with over 20 years in the MI 

channel, Thompson brings a wealth of experience to his new duties at 

MDG. “Jack has pretty much done everything there is to do in this business” 

explains MDG President Steven Savvides. “From retail experience to 

national sales, working with both manufacturers and our current customer 

base Jack brings a deep understanding of both our products and our vision 

for MDG moving forward.” Contact Joe Penola, 973-335-7888, ext. 204. 

Lisa Chamblee- 

Hampton 

Studio Manager 

Oasis Mastering 

Oasis Mastering, located in Burbank, 

CA, has announced the appointment 

of Lisa Chamblee-Hampton to the 

position of Studio Manager. Chamblee- 

Hampton most recently served as 

Project Manager for MATK Corporation 

in charge of the new product launch of Reftone Speakers and new studio 

builds. She graduated from the Institute of Production and Recording 

in Minneapolis. Her resume of previous clients include Prince, George 

Duke, Justin Timberlake, M.I.A. and Sinbad. For futher information on 

this appointment you may contact Chamblee-Hampton directly by phone 

at 818-567-0500. 

Jatan Shah 

Executive VP/COO 

QSC Audio Products 

QSC Audio Products, LLC has 

announced the promotion of Jatan 

Shah to Executive Vice President, Chief 

Operating Officer. In his new role, Shah 

will oversee the company’s Finance, 

R&D, Manufacturing, Supply Chain, IT, 

and Legal functions. He joined QSC in 

2010 and has served as Chief Financial 

Officer and Chief Technology Officer, leading the Finance, R&D, Legal, 

and IT departments. Prior to joining the company, Jatan served for five 

years as Senior Engagement Manager at McKinsey & Company, a global 

management consulting firm recognized as one of the most prestigious 

in the world. Jatan spent the previous five years as a Manager at United 

Technologies Corporation. Contact margaret@msmediainc.com. 

Hillorie R. McLarty 

Marketing/Advertising Manager 

Music Connection 

Music Connection magazine has 

promoted Hillorie Rudolph McLarty 

to Marketing/Advertising Manager. For 

the last six years McLarty was a Senior 

Account Executive. Prior to that she 

spent 18 years licensing music for film, 

TV and commercials for MCA Records, 

Warner Elektra Atlantic, Virgin America 

and many independent record labels. In addition to Advertising at Music 

Connection, she also coordinates the company’s involvement with music 

conferences and competitions throughout the US. McLarty creates strategic 

partnerships and plans innovative marketing events for Music Connection 

advertisers as well. Contact hillorier@musicconnection.com. 

November 2012 www.musicconnection.com 9

NEW TOYS 

Gemini Pro Audio HSR-1000 Headphones 

Gemini’s HSR-1000 headphones are a solid choice for 

pro or project recording studios, live sound work, DJs 

or just casual music listening. For $99 MAP, you get 

a rugged pair of “working man” tools that will hold up 

to the rigors of the creative music making process 

without failure or complaint. 

I don’t feel like I have to “baby” them too 

much—being careful not to overdrive them (when 

the singer wants the headphone mix at “11”) 

and knowing it’s not the end of them if they get 

dropped or (hopefully not) thrown across the 

room—caught up a victim of an artist’s frustration 

and rage. 

I found the HSR-1000s to hold up to these 

extremes yet provide a stable, great sound that’s 

tailored to music work. They have a fat lower midrange-centric 

sound and are not overly bright-sounding. 

Low frequencies sound true and the 53-mm drivers 

with PET (Polyethylene Terephthalate) diaphragms keep 

the bottom end fully extended yet not excessively boomy. 

The HSR-1000s are a close-back, circumaural phones that cover your 

ears to provide sound isolation. In the studio or live sound, this helps 

you hear what you want to, and in your domicile—it prevents others from 

hearing when they don’t wanna hear... any sound at all. This is important 

for late night mixing when everyone else around wants to sleep. 

The HSR-1000s come with a gold-plated 1/4-inch stereo all-metal plug 

and threaded 6.3mm mini-adapter, curly cord and a velour carrying bag. I 

like the phones’ sturdy metal swing ear brackets, leather headband cushioning 

and comfortable lightweight �t. 

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

Focusrite iTrack Solo 

Focusrite’s iTrack Solo dual-input audio interface is actually two interfaces 

in one. It is a USB 2.0 audio interface that works for both your 

Mac or PC up to 24-bit/96kHz and it also functions as an iOS audio 

interface for Apple’s iPad and iPhone. The iTrack Solo comes in an 

all-aluminum cabinet that’s slightly smaller than the Scarlett 2i2 USB 

interface and borrows that unit’s clever halo indicators that surround the 

two input level control knobs. The halos are for simply setting the correct 

level in green and warn of possible over level when they turn red. 

I tested the iTrack Solo using three different DAWs: Pro Tools HD 

10.2 Accel on OS X 10.6.8; as an interface running at 96kHz the latest 

update of Wavemachine Labs’ Auria on iPad; and Sonoma Wire Works’ 

FourTrack app (44.1kHz 16-bit) on my iPhone 4S. Other iOS Apps like 

GarageBand are also supported. 

I found the iTrack’s functionality to be the same in all three systems: 

super easy to make two-track recordings. It’s stable and produces a 

great sound for both the recording inputs and the stereo monitoring 

outputs. The mic pre-amp (same as used in the Liquid Saffire 56 and 

Scarlett interfaces) has plenty of gain when using old ribbon or vintage 

dynamic microphones with typically low output. The high impedance 1/4inch 

direct input worked well when recording piezoelectric pickups or my 

Fender Strat’s passive pickups. 

I’m impressed! iTrack Solo is a great idea for the on-the-go songwriter, 

musician or voice-over artist who want to record in high quality 

anywhere and rely on those recordings to be master-ready quality later 

in the studio. The iTrack Solo sells for $159 MAP. Check out http:// 

us.focusrite.com/itrack-solo for more information. 


—BARRY RUDOLPH barry@barryrudolph.com 

Yamaha DTX400 Series 

The newest members of Yamaha’s DTX 

line of electronic drums, the DTX450K 

and DTX400K, are entry-level kits 

that drummers can count on for durability 

and dependability while spending a 

little less to get into playing electronic 

drums live. 

You get the DTX400 module with 

169 drum sounds, 128 instrument 

voices and 10 customizable kits. The 

DTX400 series has a fresh look with 

specially designed 10-inch hi-hats, 

crash and ride cymbals and 7.5-inch 

drum pads. 

The DTX450K drum kit features a 

3-zone snare pad for head, rim-shot 

and side-stick sounds. The Yamaha 

belt-drive foot pedal offers true kick 

feel and the realistic hi-hat controller 

allows for half-open, pedal and 

splash sounds. The included steel rack 

for the pads and kick drum pedal is rigid 

and solid plus, there is a way to attach an extra 

cymbal (PCY90AT purchased separately) if you are an 

“extra cymbal” kind of drummer. All the cymbal attachments on 

the DTX450K feature chrome hardware. 

The DTX400 drum kit comes with the new beater-less KU100 kick unit 

for super-quiet bass drum operation, but if it feels better, get the FP110 

belt-drive foot pedal that come with the KP65 kick pad. It, as well as 

the TP70S 3-zone snare pad and XP80 DTX-PAD snare, are optional 

upgrades. You can mix n’ match individual pads and pedals. 

Yamaha’s DTX400K kit is $499.99 and the DTX450K sells for 

$699.99. See http://4wrd.it/usayamaha. 

BOSS VE-5 Vocal Performer 

The little VE-5 Vocal Performer is a mobile personal effects processor 

and phrase looper for vocalists, rappers, DJs or any performer looking 

to call up cool vocal treatments instantly. Its six vocal effects, borrowed 

from Roland’s VE-20 stomp pedal unit, are: Reverb, Delay, Double/ 

Harmony, Dynamics, Pitch Correct and Tone/SFX. 

The VE-5 is battery-powered and comes with mounting bracket 

clamps to attach it to any size mic stand so that VE-5’s backlit LCD 

display and controls are right up “in your face” for the adjustment and 

recalling of any of the 50 memory locations. Each memory location has 

a programmable chain of effects—the 30 factory presets are great starting 

places to build elaborate chains. 

The VE-5 will auto-correct a singer’s pitch either chromatically or by 

key and scale. It is capable of auto-tune effects along with other treatments 

simultaneously; their settings and wet/dry balances are programmable 

and storable in user memories. I like the Harmony button that 

allows you to drop in pre-programmed harmony parts or special effects 

at will during live performances and on top of the running preset. 

The effects processor is a mono only microphone level unit and connects 

between your favorite stage mic and the FOH or recording mixer 

just as any microphone would. There is switchable +48-volt phantom 

powering and built-in microphone that mutes when the mic is plugged 

into the unit’s XLR input. The built-in mic and headphone mini jack with 

volume/line output level control are great features for practicing and 

working out vocal effects, harmony parts or building vocal phrase loops 

without any other gear required. For working out harmonies, I used a 

backing track playing out of my iPhone connected to the VE-5’s Aux in 

jack with the included stereo mini cable. 

The phrase looper works like “sound-on-sound” recording—add layers 

of vocals with every repeat of the loop. Looper holds a loop up to 

38-seconds long and, when in record, the new part sounds 

dry but adds whatever effect chain you’ve programmed 

once playback begins. 

The BOSS VE-5 Vocal Performer 

offers a way to personalize, practice 

and perfect your stage 

vocal effects and store 

them for instant recall 

during your live 

stage show. It sells 

for $299 MSRP. 

Visit http://roland. 

com/products/en/ 

VE-5.

YOU’RE NOT BUILT 

FOR THE BUTTON-UP LIFE. 

WE DON’T TEACH 

BUTTON-UP SKILLS. 

S A E 

O P E N 

H O U S E 

N O V. 1 7 

LISTEN 

EXPLORE 

CREATE 

INTERACT 

CONNECT 

EXPERIENCE 

LEARN 

ATLANTA | CHICAGO | LOS ANGELES | MIAMI | NASHVILLE | NEW YORK | SAN FRANCISCO 

SAE-USA.com (866) 579-4515

NEW TOYS 

Dynaudio DBM50 Powered Monitors 

Dynaudio Professional’s DBM50 is a powered 

monitor speaker speci�cally engineered to sit 

on desktops—my review pair are positioned 

on either side of my Samsung 22-inch monitor 

for a total width of about 38-inches on my 

workstation’s desktop. They are a rear-ported 

design, feature a 7.1-inch woofer and 1.1-inch 

soft dome tweeter, two 50-watt internal power 

amps (separate amp for tweeter and woofer) 

and the cabinet is angled upward about 

19-degrees to focus the stereo mix image at 

the listener. I found that using speaker isolation 

pads was not required with these because 

the cabinet’s vibrations don’t seem to couple 

to my desktop’s surface as other monitors will 

without decoupling. 

Handcrafted in Denmark including the drivers, 

the DBM50’s back panel have a three-band 

active �lter set plus a high-pass �lter to compensate 

for using a subwoofer. But I found these two monitors to have more 

than ample bass for mixing—if your music demands it or you are mixing 

in 5.1 or 7.1 surround and require a sub, you can select between 60Hz 

or 80Hz cut-off frequencies. I also like the switchable Power Save feature 

that, after 20 minutes of no audio input, go to standby and awaken 

in about 2 seconds automatically—more electronic products should have 

a power saving mode. 

The DBM50s sell for $499 MSRP each, weigh 15.9 lbs., have a frequency 

range of 46Hz - 21kHz and are capable of 117dB SPL. There 

is an optional ($99) remote volume controller that plugs into a mini-jack 

on the speaker’s back panel. I am loving these and hate to have to send 

them back. Check out http://dynaudioprofessional.com/bm-series/ 

monitors/dbm50. 

HAO Bass Liner Pedal 

Distributed by Godlyke and co-designed by Phil Jones, Japanese 

boutique pedal company HAO has the new Bass Liner Preamp pedal, a 

stomp box-sized preamp with professional audio features. Primarily for 

four, �ve and six string bass guitars, it has a �ve-band EQ with separate 

Input Gain and Output Level controls and up to +10 dB boost—sometimes 

required if you boost or cut to the extremes this pedal is capable 

of. But even milder EQ settings require these controls to match levels 

when switching the EQ in/out. 

There are �ve separate +/-18dB cut/boost controls at 50 Hz, 160 Hz, 

630 Hz, 2.5 kHz and 12 kHz. These are the key frequencies for proper 

tonal changes to any bass instrument and any musician’s style/music. 

The pro features start with center-detent controls for a �at (frequency) 

response when straight up. The detents make them easy to locate by 

“feel” on darken stages or studios. 

The Bass Liner has two stomp switches: true bypass and a mute 

switch that allows for tuning silently via the secondary pass-through 

direct output jack. This second output is before any processing for your 

tuner or to provide an isolated direct signal for recording or FOH live 

mixing. 

I found this output ideal for recording when I wanted the bass guitar 

recorded on two tracks at the same time—one with an EQ and the other 

track without. Muting is silent and only on the EQ processed output jack. 

Bass Liner has 

loads of output 

level no matter 

how it is set 

and using it with 

my bass player 

was awesome. 

Overdriving for 

distortion effects 

(if you’re wondering) 

is not 

this pedal’s purpose. 

Shaping 

a superior tone 

shape for bass 

is. 

Bass Liner 

uses either an 

internal 9-volt 

battery or a 9 to 

18-volt DC adaptor. Eighteen-volts will increase the pedal’s headroom 

and recommended for handling the wide dynamics of �ve-string basses. 

The HAO Bass Liner sells for $349. Visit http://godlyke.com/hao-handbuilt-guitar-effects/bass-liner 

for more info. 


—BARRY RUDOLPH barry@barryrudolph.com 

On-Stage Stands 

Conductor Stand 

On-Stage Stands has a new conductor 

stand be�tting the vaulted 

position of any musical director, 

instructor or orchestra conductor. 

Pictured is the SM7312W model 

with its 13.5 x 22-inch, solid wood 

bookplate. At 3 inches wider than 

typical designs, it has a 2-inch return lip to 

accommodate large music book(s), pencils or 

an apple for the teacher. The beautiful rosewood 

�nish caught my eye and I’d get one 

just to dress up my studio or give the “star 

treatment” to vocalists coming here to sing. 

The SM7312W has an angle adjustment 

tension system for easy bookplate positioning, 

a simple portable design and a folding 

tripod base. The mid-point clutch adjusts 

height from 24- to 45-inches for either seated 

or standing use. All knob adjustments lock 

and there are non-slip rubber feet for using it 

on any surface. 

Check out http://onstagestands.com. 

IK Multimedia ARC 2 

IK Multimedia has released ARC 2, the updated version of their 

Advance Room Correction System, a collaboration with Audyssey®—the 

original ARC debuted in 2007. ARC 2 uses a new, higher resolution EQ 

called MultEQ® XT32—said to be 4x the resolution of ARC 1. Although 

not a cure for bad sounding studios, Advance Room Correction will 

ameliorate the affects that bad room acoustics have on the mix balances 

made in them. 

ARC 2 comes in two parts: the standalone measurement app that 

works with any Mac or PC’s soundcard and the DAW plug-in software 

that uses the data gleaned and stored from the measurement app as a 

recallable preset. I run the correction plug-in inserted into the stereo 

Master Fader monitor path of Pro Tools HD 10.2. Do not process your 

stereo mix through ARC! 

ARC 2 works by measuring your room using the included measurement 

microphone and generates an opposite, corrective �lter curve. New 

to ARC 2 is the fact that the measurement can be done with just seven 

measurements or up to 16 for super precision results and takes about 

1/3 the time of the original version. 

With this new version I am impressed by how much better ARC 2 

sounds. It sounds smoother and has better resolution in the low frequencies—where 

most of the problems in small rooms are. I like selecting 

one of the new Alt References presets that model the sound of consumer 

listening devices such as boom boxes, ‘80s and ‘90s stereo speakers, 

tinny computer speakers, LCD TVs, club PA systems or car audio systems 

to hear your mixes as if played through those systems. 

ARC 2 is sells for $299.99 MSRP with an update price at $149.99. 

See all available purchasing options at http://ikmultimedia.com/arc. 

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

IT ALL STARTS HERE. 

RANDY KOHRS 

Grammy winning Producer/Engineer/ 

Multi-Instrumentalist 

It all starts with the song. 

However, pros like Randy Kohrs 

and Jim Lauderdale know it 

takes more than talent to turn a 

good song into a 

great record - 

you need the 

right tools. 

“I've used 

Mojave mics on 

all four albums 

we've made 

together. I don't 

care what you 

use them on - 

vocals or 

instruments - 

these mics will 

make you 

proud!” 

RANDY KOHRS 

JOIN 

THE TRIBE. 

JIM LAUDERDALE 

2 time Grammy winning 

Artist/Songwriter 

www.mojaveaudio.com 

Follow us on 


BOOK STORE 

BOOK STORE 

For the Coffee Table... 

Randy Rhoads 

By Steven Rosen and Andrew Klein (hardcover) $99 

Before his tragic death in a 1982 plane crash at the age of 25, Randy 

Rhoads invented an explosive and technically advanced style of hard 

rock guitar playing that dominated the ‘80s. Over a short two-year 

period, Rhoads recorded two seminal multiplatinum albums with Ozzy 

Osbourne, which are heralded today as among the most noteworthy 

recordings in hard rock music history. Decades later, his massive 

influence continues to shape, educate and inspire first, second and 

third generation players and music fans who marvel at his extraordinary 

musicality and stunning instrumental prowess. This new book, teeming 

with rare photographs and memorabilia, chronicles an oral history of 

the guitar virtuoso’s remarkable life through those who knew him best. 

Packed with countless emotional and poignant stories, it provides 

deeper insight into the man, the myth, the legend. 

Zen and the Art of Producing 

By Mixerman (paperback) $24.99 

In this companion to Zen and the Art of Mixing, the 

author lays out the organizational and creative roles 

of an effective producer as budget manager, time 

manager, personnel manager, product manager, 

arranger, visionary and leader, and without ever 

foregoing the politics involved in the process. 

Mixerman: “Producing is an art in which reading 

and understanding people nearly always trumps any 

theoretical knowledge —whether musical or 

technical in nature.” 

The Complete Idiot’s Guide to Playing the Ukulele 

By David Hodge (paperback) $22.95 

Here’s a solid beginner’s guide that covers the 

gamut: parts of the uke, tuning, strumming, 

fingerpicking, chords, perfecting your rhythm, 

mastering syncopation, slurs and more. Step by step 

lessons, tips on tuning and easy tutorials for learning 

chords and reading chord charts make this book 

the surest path to success for any would-be ukulele 

player. Includes a CD with lessons and sample 

songs. 

Not Only Women Bleed 

By Dick Wagner (hardcover) $29.95 

Wagner shares a lifetime of experience as a 

songwriter, lead guitarist and producer/arranger with 

stars including Alice Cooper, Aerosmith, Lou Reed, 

Peter Gabriel, Air Supply, and early encounters 

with Little Richard, Roy Orbison, B.B. King and Les 

Paul. Poignantly recounted stories of youthful days 

on the road and years of hit recordings, contrast 

with emotional tales of drug addiction, near fatal 

health issues and his enlightenment in an intensive 

care unit, Wagner takes the reader on a miraculous 

journey of courage and commitment. 

The Recording Secrets Behind 50 Great Albums 

Edited by Kylee Swenson Gordon (paperback) $16.99 

Spanning 1967 to 2011, the book reveals the 

methodology of talented artists, producers and 

engineers. Ranging from seminal classics, Fleetwood 

Mac’s Rumours, Aerosmith’s Toys in the Attic and 

the Who’s Quadrophenia to recently recorded works 

by Danger Mouse, Foo Fighters, and Phoenix, this 

compilation of articles taps into the inner studio 

realm, crossing boundaries of era, genre, geography 

and recording style. The book digs deep to capture 

all of the juicy recording details.

“Producers have Pro Tools. Writers have Word. 

Songwriters have MasterWriter.” 

“MasterWriter will not only help you 

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David Foster 

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“MasterWriter is a tool that 

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“This comprehensive, user-friendly 

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Kenny Loggins 

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OTHER MEMBERS OF MASTERWRITER’S HALL OF FAME 

Kenny Loggins, Imogen Heap, Jeffrey Steele 

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Go to MasterWriter.com and take the Tour FREE 10-DAY TRIAL 

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3306_MusicConnection_VE-5_FINAL.indd 1 9/24/12 2:34 PM 

UP-CLOSE 

By Jonathan Widran 

As a product development manager at Bose, Steve Skillings enjoyed 

a career that included working automotive sound systems and being 

part of the team that brought the company’s renowned L1 portable 

speaker systems to market. As the founder and CEO of JamHub, he has 

found an even more dynamic way to apply his dual backgrounds in music 

(he’s played guitar since he was 16) and mechanical engineering to help 

musicians of all ages and levels of experience. 

Driven by his mission to foster “More Music Making,” the Massachusettsbased 

company has, since its founding in 2009, developed products that 

“end the volume wars” between musicians while allowing each member of a 

band to experience his or her own personalized mix, both in rehearsals and 

in live settings. JamHub allows consumers to turn up the volume without 

the sound bleeding outside the group’s immediate environment, overriding 

the common need for a songwriting, jam or rehearsal space with decent 

acoustics and the worry about expensive sonic treatments. Plugging their 

instruments and headphones into the small �oor-bound hub, users can play 

as loud as they want while maintaining perfect sound and clarity. 

The company’s three �agship product models: BedRoom, GreenRoom 

and TourBus, are perfect for bands that have limited rehearsal time; that 

live in an apartment or space surrounded by neighbors who get annoyed 

by the volume of the music; are spending too much on rehearsal spaces; 

have amps, cables, PA gear, wall treatments, etc. that take up too much 

space; who have to rehearse vocals separately to be heard above the other 

instruments; and whose practice session recordings come out sounding 

muddy and unclear. 

While bass great Victor Wooten is an official endorser —and popular artists 

from Herbie Hancock and Gretchen Wilson to Faith Evans and Jordan 

Sparks use JamHub—Skillings is excited to note that schools in the UK, 

Australia and Thailand are investing in the company’s products as a way to 

foster students’ musical development in “jam rooms” that allow numerous 

bands to play at once without disturbing one another. 

Explaining his original concept for JamHub, Skillings says, “I was talking 

to a buddy of mine whose son played bass and had his band coming over 

to their apartment to jam. The band could only play there for an hour, with 

the neighbors agreeing to leave for that period, once a week. This seemed 

wrong to me, that there must be millions of musicians who have the same 

time and space and noise issues. I thought, I use individual headphones 

when I practice alone, so why not plug the band into a different kind of 

mixer, one with individualized mixes, so they could jam together, all day 

(and night) long. These mixes would make them play and sing better 

because they wouldn’t be competing with the volume of the other instruments 

or have to play over anyone else. 

“I drew out the basic circuits and worked with my electrical engineering 

friends to help me design and develop the JamHub,” he says. “I wanted it 

to be easy to use, so you could put it in front of a 12 year old musician just 

starting out, a 35 year old pro or a retiree just making music for fun—and 

they could �gure out how to plug in and use it quickly. We’ve found that 

people buy it for the silence but love it for the sound. One unexpected development 

was that people starting using it in live performances. Using the 

JamHub as the center of their in-ear monitor will not only save money but 

save their hearing. We can out�t a whole band with wired inner ear monitors 

for less than the cost of a traditional wireless system for one player.” 

JamHub’s BedRoom is an affordable product perfect for jamming in a 

small space. It allows for up to �ve musicians to plug in their instruments, 

mics and headphones, with analog output for recording and 24-bit effects. 

GreenRoom is for more serious musicians, adding two more “slices” to 

accommodate up to seven musicians. It includes USB and analog output, a 

SoleMix remote, phantom power and 24-bit effects—perfect for users who 

want to rehearse more often without “volume wars.” TourBus is essentially 

the same as GreenRoom but adds a built-in recorder to catch what Skillings 

calls “those happy musical accidents that lead to great songs and performances.” 

It also features seven sections with 21 total audio channels. 

Contact JamHub, 877-JAM-HUBS


STUDIO MIX 

JOHN FOGERTY TEAMS WITH 

FOOS, URBAN, SEGER, MORE: 

John Fogerty, one of rock’s most 

in�uential artists, is back in the studio 

�nishing his much-anticipated 

album Wrote a Song for Everyone. 

Including tracks from his revered 

songbook (classics and deep 

tracks) along with new songs, the 

album will be released by Vanguard 

Records in early 2013. Wrote A 

Song For Everyone will feature collaborations 

with Foo Fighters, Bob 

Seger, Keith Urban, Brad Paisley, 

My Morning Jacket, Alan Jackson, 

Miranda Lambert, Dawes and 

more. See http://johnfogerty.com 

for updates. 

BUSTA RHYMES RECORDS 

WITH ALEX MORELLI: Ted 

Smooth recently produced two 

of hip-hop legend Busta Rhymes’ 

tracks at Alex Morelli’s Music 

Studio in New Jersey. Through 

48 Consulting (http://48consulting. 

com) and http://alexmorellimusic. 


com, Morelli’s staff looks to create 

artists and assist music business 

entrepreneurs with the right budgets 

to develop strategies for them 

to succeed in the music industry. 

Check out either website for further 

details. 

INTRONAUT ENTER STUDIO: 

The post-metal prog act from Los 

Angeles, CA have entered the 

studio to begin working on their 

fourth full-length album. Drums 

will be tracked by producer John 

Haddad (Exhumed, Phobia) at 

Trench Studios, while Derek 

Donley (Bereft) will be handling 

recording duties for all other 

elements. Andrew Schneider 

(Unsane, Cave In) will be mixing 

the album and David D’Andrea will 

once again work with the band on 

artwork and layout. The follow-up 

to Valley Of Smoke is slated for an 

early 2013 release. Visit http://face 

book.com/intronaut. 

// Argosy Gets Heavy In New York // 

Heavy Melody Music, a music composition and sound design facility in the 

Manhattan neighborhood of Chelsea, NY, has installed three Argosy Dual 15K 

Keyboard Workstations. The partners—(pictured l-r) Neil Goldberg, Dave 

Fraser and Ari Winters—produce music and design sound for video game 

and motion picture trailers, and are also the three principals in Heavyocity 

Media, a developer of virtual instruments for professional composers and 

sound designers. 

// Vintage King Unleashes L.A. Showroom // 

Cocktails and music were provided recently to celebrate the opening of 

Vintage King's new Los Angeles showroom (VKLA) and demo studio. With three 

acoustically tuned private listening rooms and a revolving selection of classic 

consoles, mics and outboard gear, VKLA represents quite the gear-choosing 

experience. Dubalub performed as invited guests strolled the facility. Pictured 

is an interested event attendee checking out Vintage King's 500 series rack. 

Visit http://vintageking.com. 

JULIAN CHAN 

HOLLYWOOD TEEN TV 

“Every song is an education. Learning how to intertwine vintage 

analog and new digital gear is a forward-moving experience. 

This is one of the most exciting times to be making music.” 

—Beau Raymond (Béisbol, Mark Olson, Devendra Banhart) 

// DiMaggio Produces Don Felder // 

Interviewed in MC July 2012 

Paiste artist Robin DiMaggio recently produced and tracked drums on Don 

Felder’s new album Road to Forever, out now. The record features Crosby, 

Stills and Nash, Randy Jackson, Steve Lukather, Chris Chaney, Leland Sklar, 

Lenny Castro, David Paich, Steve Porcaro, Michael Bearden and Sean Holt, 

among others. Get the scoop at http://donfelder.com. 

// Dylan Hyde Tracks Debut Album In Hollywood // 

Teen neo-crooner Dylan Hyde is currently working on his debut album, which 

will feature tracks produced by Shawn Campbell, including a duet with singer 

Mandy Rain. Choreographer Darrien Henning is working with Hyde to develop 

a signature performance style. Pictured in Campbell’s Hollywood studio 

(l-r): producer Taran Peirson, Hyde, Rain, Henning and Campbell. For more 

information, see http://facebook.com/dylanhydemusic.

STUDIO MIX 

// Comedian Stephen Lynch Tracks In Nashville // 

The self-proclaimed “musician trapped in the body of a comedian” has 

recorded his fifth album, Lion, which is slated for a Nov. 13 release. Recorded 

in Nashville, Lion brings Lynch together with famed producer Doug Lancio 

(Patty Griffin, Jack Ingram) who produced, mixed and engineered the record. 

Lion also features Tennessee-based singer-songwriter Courtney Jaye, who 

adds an unexpected angelic sound to her featured tracks. 

// SAE Dubai Upgrades to SSL // 

A Solid State Logic AWS 948 Hybrid Console/Controller has been chosen to 

upgrade the primary audio recording room, Studio 7, now named the SSL 

Studio, at the SAE Institute in Dubai. As a part of the worldwide network 

of over 56 SAE educational facilities, the Dubai campus offers a variety 

of degree and certificate programs in media production, including audio 

engineering, 3D animation, multimedia, game design, digital filmmaking 

and music production. The AWS 948 is an educational tool to teach large 

format console operations and routing for both analog and DAW production 

styles. See http://solidstatelogic.com and http://dubai.sae.edu/en-gb/home. 

—ANDY MESECHER andym@musicconnection.com 

// Legendary S.F. Studio ‘Coast Recorders’ Reopens // 

Veteran mastering engineer Michael Romanowski has reopened “Coast 

Recorders” Studios in the heart of San Francisco, CA, refurbishing the live 

room back to the roots of its original Bill Putnam design and materials from the 

late ‘60s. Along with a redesigned control room, a second mastering room 

has been added along with mastering engineer Piper Payne. The complex’s 

on-staff engineers include Chief Engineer Sean Beresford (Third Eye Blind, 

Vanessa Carlton), and Chief Technical Engineer Desmond Shea. Also within the 

complex are two mixing suites and the analog 2-track dub room for “The Tape 

Project”—an audiophile tape-based record label owned by Romanowski and 

famed engineer Paul Stubblebine. See http://coastrecorders.com. 

// Twelve Music Opens New Georgia Studio // 

Twelve Music Group, Buckhead Bottle Bar & Bistro, and Courvoisier Rose 

hosted a launch party for Twelve Music’s new 4,053-sq. ft. recording studio 

in Atlanta, GA. Bryan-Michael Cox rocked 150+ music industry producers, 

songwriters, and execs including vocal producer Jan Smith (Justin Bieber, 

Usher) and Grammy winning producer Polow the Don (Chris Brown, Christina 

Aguilera). Pictured (l-r): Marsha and Simon Guobadia, Natalie Hall, Giovanni, 

Dina Marto, Kwanza Hall and Courtney Rhodes. 

Are You Ready To Take Your Music To The Next Level? 

Jimmy Hunter’s 

FEATURING NEW STATE-OF-THE-ART PROTOOLS 10 HD6 

Engineer • Producer • Drummer (Live or Programmed) • Vocalist • Vocal Coach 

Over 4,000 Songs Produced Here • Serving Hollywood for 25 years 

(323) 655-0615 • www.jimmyhunter.com • studiojimi@aol.com 

November 2012 www.musicconnection.com 19 

PROWLAMAN.COM

Hear.Better 

Hear yourself, and your band, like 

never before. JamHub ® studios let 

each musician create their perfect 

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Control your sound with JamHub. 

Enter to WIN a JamHub studio 

www.Facebook.com/JamHub 


® 

PRODUCER CROSSTALK 

More than just “the Disney Guy” 

By Rob Putnam 

Los Angeles-based songwriter and producer PJ Bianco studied composition 

in college and interned with Quad Recording Studio and The 

Loft Recording Studio. After graduation, he signed a publishing deal 

and began to work with the Jonas Brothers. He’s since written and produced 

for a range of artists including Demi Lovato, Metro Station and Mýa. 

Recently he opened his own studio in North Hollywood’s arts district. He 

emphasizes drums in his recordings. Accordingly, his studio has a large 

live room. 

Working with a range of artists keeps 

The three most important 

Bianco stimulated and productive. 

things he’s learned as a 

“The diversity is what keeps it fun to 

producer and songwriter are: 

me,” he explains. “I can go from working 

on a complete R&B, Stacy Barthe- • Pay extremely close attention to 

type record to working on a super pop the vocal delivery. 

record for somebody like Demi Lovato. 

“If I had pigeonholed myself to one • Make sure that the song is great 

before you spend a lot of time pro- 

sound, I would have been stuck,” he 

ducing it. 

continues. “Disney was a lot of fun 

back in 2007 to 2009. But then I start- 

• Pay attention to an artist’s live 

ed to get pegged as ‘The Disney Guy.’ show. If an audience doesn’t 

I didn’t want that so I started working respond, [the song is] probably not 

with artists like Metro Station, Stacy going to be that great. Anytime I’ve 

Barthe and LP.” 

had success with an artist, they’ve 

Where songwriting ends and pro- had a great live show. If an artist 

duction begins is difficult to pinpoint in fails, chances are their live show 

Bianco’s case. But he knows, at least, sucks. 

that songwriting unfolds into production. 

“I look at the songwriting as the centerpiece of everything,” he says. 

“I see production as building a set around the songs. It’s much more about 

the songs but then the production is just as important. If you don’t produce 

it right, the song might not be as relevant as it could be. The songwriting is 

the most grueling part. Often times you’ll have a hit chorus. You have to �ll 

in the pieces to get the rest. You might take two weeks rearranging them 

until an A&R person says it’s ready.” 

Bianco has learned that listening to young people is exceptionally 

important as a songwriter and producer. Indeed, he counts it among the 

most important lessons he’s learned. “One of the things that fascinates 

me is the amount of genius coming from young talent,” he observes. “A 

lot of producers are quick to write-off an 18 or 19-year-old’s opinion on a 

song. But I embrace it. I’ll trust an 11-year-old’s opinion before I’ll trust a 

40-year-old’s because kids have some sixth sense about what works. I 

don’t know where it comes from, but every time I collaborate with young 

people, I’m always blown away with how good it comes out because their 

instincts are so sharp.” 

Engineers have often expressed a preference for a mic or other piece 

of studio gear. But Bianco emphasizes results over process. “A lot of hit 

records have been conceived on things like GarageBand, which is inexpensive 

or free with every Mac,” he says. “Arguing about what pre-amp or 

compressor you’re using is a waste of time. The focus should be more on 

the song; on the singer’s vocal delivery. That’s a stumbling block that a lot 

of young producers struggle with.” 

Bianco believes strongly in artist development, both creatively and 

from a business standpoint. He’s seen �rsthand the positive results it can 

deliver. “With the Jonas Brothers, we built a quarter-billion dollar franchise 

out of my basement,” he explains. “I’ll never neglect artist development 

because it yields the highest return. It’s the one most lucrative area a producer 

can be in. When you’re the �rst guy there, you get all of the songs.” 

Recently Bianco produced and co-wrote LP’s single “Into The Wild.” 

The song earned ample buzz when it was featured in a Citibank commercial. 

He’s also collaborating with Warner Bros. Records chairman 

producer extraordinaire Rob Cavallo. 

Contact Jeff Gordon / All Star Music Group, 818-789-5964, 

allstarmusic67@yahoo.com


EXEC PROFILE 

BACKGROUND: Over the course 

of 13 years in sales and setting 

up distribution and licensing 

agreements at Music Video 

Distributors, Chris Callahan 

recognized a gaping hole in the 

marketplace—international sales 

were being ignored. Last year, he 

formed Planetworks and already 

he’s acquired an astounding roster 

of labels and artists eager to 

tap into the worldwide revenue 

stream. 


CEO 

Planetworks 

Years with Company: Under 1 year 

Address: Planetworks Enterprises, LLC, P.O. Box 5205, 

Limerick, PA 19468 

Phone: 610-906-3344 

FAX: 610-903-4620 

Web: http://planetworksent.com 

E-mail: info@planetworksent.com 

Clients: Blackberry Records, Bonzi Records, Wide Hive 

Records, Porterhouse Records, Cellar Live, ConcertONE, 

4Tay Records, Delvan Records, Digital Warefare 

Records, Ace of Hearts Records, Henry Stone Music 

International is not one country. Your product 

might not sell in Australia, but it will in Europe. 

From Boss to Client: 

A big reason I started Planetworks 

was because I was astounded at 

how many labels are distributed by 

leading companies who don’t have 

anything going on internationally. 

There are a lot of labels like that and 

I’ve always known it. Come last September, 

I put my notice in to MVD 

and left on good terms to launch 

Planetworks. MVD is now a client. 

Filling the Void: 

In the past �ve years, [Planetworks 

has] always been in the back of my 

mind. There was a void in the business 

prior to Planetworks being 

established, where either you knew 

people internationally or you didn’t. 

It’s not like you could, as a US label, 

go to somebody within the States to 

take care of your international distribution. 

You actually had to do the 

leg work in 20 territories. I’ve always 

thought, “There’s a business there.” 

More and more labels are saying, 

“We used to do international but we 

don’t anymore.” That’s where we 

come in. 

Video First: 

When I started Planetworks, the objective 

was to get our feet wet on the 

�lm side through licensing and distribution. 

It’s an area I’m familiar with. 

Before going out with the music side, 

I wanted to learn more about the �lm 

side. This past April was when we 

started going after labels. I wish I’d 

started with the music side. What 

would our roster look like now after 

eight months just doing music? 

Key Markets: 

When you get into markets like the 

Fiji Islands, we’re not really interested. 

There’s no money to be made. 

We’re [on all of] the major continents—Europe, 

Australia, Southeast 

Asia, Canada, South America. 

Who’s Eligible: 

For the most part, [we’ve been working 

with] labels. I’m starting to bring 

on individual artists, as long as 

they’re viable. I can’t do much with 

bands that aren’t touring Europe or 

don’t have some kind of following or 

story. If they’re not known, then I’m 

not going to waste anybody’s time. 

As long as there’s something going 

on abroad, we can try. 

Getting Scrappy: 

There’s a label called Bonzi Records 

we’re working with. They just put 

out Lil Scrappy’s record. We’re not 

working directly with Lil Scrappy, 

but we’re �elding offers for licensing 

deals. Rather than shipping and 

distributing his record, we’re actually 

�nding potential licensees, �elding 

offers and securing an arrangement 

for his new record. 

Why Will You Sell?: 

[Eligible labels] should be known and 

there should be some commercial 

viability to their product line. There 

should be a niche; there should be 

a story. Anything they think would 

lower sales outside of North America 

I have to know. Tell me why this is 

going to sell in Germany or Japan. 

There should be a reason. People 

come to me all the time and say, 

“This is big in Japan.” Okay, why? 

I need evidence. I can’t go to our 

distribution partners and say, these 

Chris Callahan 

guys are big! Sell ‘em! There’s got 

to be input. There’s got to be sales 

data or something that would warrant 

distribution. 

One-Stop Value: 

The value of Planetworks is having 

a company that knows the international 

game and in having one 

company to rely on for all territories. 

I’ve had conversations with many 

labels who say, “Man, it’s so much 

work.” Having that one-stop shop 

for all things international is where 

the value is. 

In Agreement: 

Our contracts are very artist- and 

label-friendly. It’s not about Planetworks 

and the distributors against 

the labels. It’s Planetworks and its 

labels against the distribution partners. 

So we work together as a team 

to move forward. Our agreements 

vary from one to three years, we 

take a modest distribution fee and 

we report and pay monthly. 

Physical Still Rules: 

The bottom line is there’s still a physical 

market. There’s a lot of business 

to be done, especially when you’ve 

got good content. I would not quit 

my job at an established company if 

I didn’t believe there’s still a physical 

market. I see the numbers every 

month. 

Not Just Brokers: 

There are individuals acting as brokers, 

where they’ll hook up a deal for 

a label or an artist worldwide. But 

being a broker is—you make your 

sales, collect your commission and 

then [the client] never hears from 

him again. That’s not the way we operate. 

Our biggest thing is setting up 

product for a proper release, scheduling 

international street dates, taking 

control of the market, �nding out 

what’s going on promotionally, what 

—ANDY KAUFMANN 

we can do to develop, what we can 

do to drive sales on an item and 

making sure we’re getting results. 

Americanizing Imports: 

We don’t tailor US label product to 

ship to a particular foreign market. 

We have brought foreign labels inside 

the US. There’s a company in 

Germany called Neptune Records. 

They’re the kings of wellness, lifestyle 

health products. When I saw 

the line, I said, “This stuff should be 

in all the major mass merchants.” 

But their packaging is in German. 

So I contacted them and said, “Let’s 

‘Americanize’ your product line.” 

Market Realities: 

Sometimes, you’ll have an artist or 

label that doesn’t understand international 

markets. If you do a bit of international 

business, you know your 

selling price is going to drop. Every 

market’s different. It’s a challenge 

to get people to understand I’m not 

trying to make them drop their pants 

so we can increase our margins. I’m 

trying to price your product competitively 

to make it viable. And you can’t 

rely on one distributor to take on everything 

you have. We have multiple 

distributors in every territory. When 

you know something’s going to sell 

and you have three different distributors 

you can go to, which are you going 

to choose? 

Thinking Globally: 

I get asked all the time, “Do you 

think our product’s going to sell internationally?” 

International is not one 

country. Your product might not sell 

in Australia, but it will in Europe. We 

can go on a territory by territory basis. 

There are opportunities outside 

of the United States. Life does not 

begin and end in the United States 

and there’s money to be made. 

Beware Unreputable Entities: 

There are a lot of quality, reputable 

players out there and then there are 

guys who have issues, so be careful. 

Talk to as many people as you 

can. If you’re looking to use somebody 

outside of Planetworks, ask for 

references. Ask for credit information. 

If you’ve got friends in the industry 

in Australia, ask them for their 

thoughts. 

Think Multiformat: 

Digital is going to play a more important 

role, especially in territories like 

Australia. Australia is kind of new 

to the digital game. There’ve been 

bandwidth issues there for many 

years, which prevented them from 

delivering over lines. Lately, they’ve 

been spreading out wires all over. 

We’re going to see an increase in 

opportunities, platforms and ideas 

for all things digital. At the same 

time, there are people who still want 

to have the physical product. Look 

at what the vinyl world has done; it’s 

exploded. You might have a digital 

album and you’re getting sales on 

that, but put two bonus tracks on 

the physical release. Or vice versa. 

Make a cool package on the physical 

side. Play them off each other.

Andrew Marks 

BUSINESS AFFAIRS 

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 

• OurStage has announced a new 

program to give emerging artists 

the chance to advance their career 

on a national scale with a performance 

on ABC’s Jimmy Kimmel 

Live. Musicians can compete 

in a monthly competition, via http:// 

OurStage.com, to win the opportunity 

to perform one of their original 

songs on the premier late night TV 

show. Artists of all genres are invited 

to submit original tracks, which will 

be judged by the OurStage Panel— 

a collection of noted music industry 

professionals. 

Each month, one artist will emerge 

as the grand prize winner and head 

to Hollywood, CA, to perform on 

Kimmel’s show. 

• Gary Garver is offering artists the 

chance to get worldwide exposure 

via his new radio show Controlled 

Chaos. Wild and crazy, Garver indicates, 

“I call it that because you 

never know what the hell is going 

to happen on this show.” Broadcast 

live at 5:00 p.m. (PST), on the 

P!NK SCORES AGAIN 

GoCast Network, it features news, 

talk and music acts. The show is 

broadcast every Wednesday from 

the Jon Lovitz Comedy Club at 

Universal CityWalk in North Hollywood, 

CA. Acts can either perform 

live on the club’s stage or, if they’re 

out of the area, send in their recordings 

and Garver will interview them 

over the phone. The program has 

a live video stream and is replayed 

on indie100.com Wednesdays at 

12 p.m. (PST), on w4cy.com Thursday 

nights at 8 p.m. (PST) and on 

1230 AM KLAV in Las Vegas Friday 

nights at 11 p.m. (PST). Acts of any 

genre may submit links to their music, 

videos and websites by emailing 

Garver at gary@doublegtv.com. 

• The deadline is fast approaching 

for the 9th Annual International 

Acoustic Music Awards (IAMA). 

This competition promotes excellence 

in “Acoustic Music Performance 

and Artistry.” Acoustic artists 

from all genres can gain radio 

and web exposure through this 

event. It is open to all independent 

artists and labels, but unlike other 

music competitions, IAMA focuses 

on developing new markets for acts 

and labels, with or without CD releases. 

There are eight different 

categories and judging is based on 

music performance, songwriting, 

composition and originality. The 

Grand Prize is worth over $11,000 

(US), and includes radio promotion 

to over 250 radio stations in the US 

and Canada. 

The deadline to enter is Nov. 9th. 

Go to http://inacoustic.com for additional 

information. 

• The Musician’s Guide and Avenant 

Law have launched a new 

online portal to help artists and 

music companies download high 

quality music contracts. The founder 

of The Musician’s Guide, Marcus 

RCA Records and its superstar artist P!nk, celebrated the success of her 

Greatest Hits…So Far album with a plaque commemorating three million in 

sales worldwide. Overall, she has sold over 40 million albums and 70 million 

singles, making her one of the best-selling artists in history. The presentation 

took place backstage after her performance on The Today Show in New York. 

Pictured (l-r): John Fleckenstein, EVP International, Sony Music US; Tom 

Corson, President & COO, RCA Records; Joe Riccitelli, EVP Promotion, RCA 

Records; P!nk; Roger Davies, manager; and Peter Edge, CEO, RCA Records. 

Fans can get the latest dish at P!nk’s official site, http://pinkspage.com. 

FEIST WINS POLARIS 

Taylor notes, “There’s no shortage 

of instances where artists have split 

up over signing an unfair contract, 

or worse—not having a contract 

in the �rst place. So, we created 

MusicContractStore to make highstandard 

contracts easily accessible 

to a broad range of artists.” If 

interested, visit http://musiccontract 

store.com. 

• Vinyl is hot nowadays, but so are 

downloads. Labels and artists who 

want to offer both formats to fans 

now have a way of doing so. Pro- 

Cards have made it easy and more 

cost effective than ever to give away 

a free digital download with new vinyl 

releases. It’s free to register an 

account and set up music download 

cards. Once the cards have been 

customized and ordered, they’re 

delivered to the vinyl pressing plant 

to be inserted into the vinyl packaging. 

But, what really puts this service 

ahead of the game is the Data 

Capture and Analytics Suite, which 

allows labels and artists to track the 

progress of their card campaign 

and collect fan email addresses as 

well as locations. For more information 

on how digital downloads can 

help your vinyl record releases, visit 

http://procards.com. 

• Real players are invited to sit in 

on a Tuesday night “Blues Jam” at 

The Joint in Los Angeles, CA. Additionally 

every Sunday the venue 

hosts a Jazz, R&B, and Funk All-Star 

Jam from 7 p.m. until 11 p.m. It’s 

called Band of Brothers and features 

Andrew Gouche from Prince’s 

band, Gordon Campbell from Earth 

Wind & Fire (and most recently 

the American Idol tour), as well as 

many other monster players who 

just happen to drop by. For more information, 

contact jim@the jointlive. 

com. 

Feist’s fourth studio album, 

Metals, won the 2012 Polaris 

Music Prize, garnering the 

songstress a bounty of 

$30,000. The Polaris Music 

Prize honors and rewards 

creativity and diversity in 

Canadian recorded music by 

recognizing the highest artistic 

integrity, without regard to 

genre, professional affiliation, 

or sales history, as judged 

by a panel of selected music 

critics. “What I want to say is 

thank you to the people who 

really listened to my record,” 

Feist said. “I’m genuinely 

grateful from one solitary 

listener to another.” For more 

information, check out http:// 

listentofeist.com. 

LABELS • RELEASES • 

SIGNINGS 

• Kid Rock has completed recording 

his new album, Rebel Soul. It is 

scheduled to be in stores on Nov. 

19th. The record is a return to form 

for Rock who, with this album, cements 

his place as the premier 

genre-hopping rock and roller of all 

time. The recording was produced 

by Kid Rock himself. Stay tuned to 

http://kidrock.com for the latest updates. 

• The legendary Meat Puppets have 

announced the release of their 14th 

Studio LP. Not yet titled, it is slated 

for release on Mega Force in March 

2013. The 12-song set helps anoint 

the band’s most productive recording 

period in 25 years. With so 

much activity, it is no surprise that 

their tour plans are just as relentless. 

In 2013 they are scheduled 

for a world tour stretching from Vienna 

to Sydney, and all points in 

between. Check out http://themeat 

puppets.com. 

• Adam Lambert recently released 

his Trespassing EP on 19 Recordings 

/ RCA Records. The EP features 

eight new remixes of four 

songs from his chart topping album 

Trespassing! Hailed by Rolling 

Stone as “the pop album everybody 

was hoping Adam Lambert would 

make,” it debuted at No. 1 on the 

Billboard Top 200 Charts. The new 

EP is available at all digital retailers 

as well as through http://adam 

official.com. 

• Columbus, OH’s Like Moths To 

Flames will release a deluxe edition 

of their 2011 breakthrough 

full-length, When We Don’t Exist, 

via Rise Records on Nov. 20th. 


BUSINESS AFFAIRS 

The new edition features two new 

songs, along with a new lyric video. 

In October the band joined label 

mates and headliner Miss May I on 

the AP Tour along with the Ghost 

Inside, the Amity Affliction and 

Glass Cloud. The trek runs through 

Nov. 24th. Tickets and tour details 

are available at http://theaptour. 

ning.com. 

• Iconic, hardcore punk band Bad 

Brains will release Into the Future 

on Nov. 20 via Megaforce. The new 

album features the classic lineup of 

H.R., Darryl Jenifer, Dr. Know and 

Earl Hudson. “This record is the 

purest Bad Brains recording since 

the ROIR cassette,” says bassist 

Jenifer. “It’s self-produced and 

shines with a sense of freedom and 

musical experimentation.” Brains 

fans can go to http://badbrains.com 

for further info. 

• The Manchester band, the 1975, 

have signed a deal with Vagrant, 

and will release their Sex EP on 

Nov. 20th. The title track is now 

streaming on Soundcloud. They 

are currently at work on their debut 

album with producer Mike Crossey 

(Arctic Monkeys, Foals) for release 

in Spring 2013. To get additional 

news go to their official website at 

http://the1975.com. 

PROPS 

• A decade after his death, Waylon 

Jennings continues to be one of 

country music’s most beloved artists 

while winning over a new generation 

of fans who have embraced 

his �nal recordings, Goin’ Down 

Rockin’. Released via Saguaro 

Road Records, the album was one 

of Amazon.com’s best sellers. Jennings 

was the founder of the Outlaw 

Movement, received two Grammy 

Awards, and multiple Country Music 

Association and Academy of 

Country Music awards. He was in- 

HINDER WELCOMES THE FREAKSHOW 


ducted into the Country Music Hall 

of Fame in 2001. For more on one 

of country music’s most beloved outlaws, 

visit http://waylonjennings.com. 

Celebrated banjo player, Mark 

Johnson, is the recipient of the third 

annual Steve Martin Prize for Excellence 

in Banjo and Bluegrass. 

Johnson differs from the �rst two 

years’ winners in that he focuses on 

a style called “clawhammer” rather 

than Scruggs style or three-�nger. 

He has blended the two styles of 

playing into one approach he calls 

“Clawgrass.” The Steve Martin 

Prize for Excellence provides the 

winner with a cash prize of $50,000, 

as well as a bronze sculpture created 

by noted artist Eric Fischl. To 

learn more about this unique player, 

go to http://clawgrass.com. 

• What heavy metal band has lullaby 

versions of its hit songs “War 

Pigs” and “Heaven and Hell” on a 

CD collection? The correct answer, 

of course, is Black Sabbath whose 

lullaby renditions recently came 

out on Rockabye Baby. Through 

more than four-dozen releases, 

moms and dads nationwide have 

grooved to Rockabye Baby’s blend 

of practical parenting and rockin’ 

fun. Aerosmith’s Steven Tyler and 

Def Leppard’s Joe Elliott were so 

enthusiastic about their respective 

lullaby version CDs that they contributed 

liner notes to them. All Rockabye 

Baby releases are available at 

iTunes and Amazon.com. For more 

information, or to hear samples, visit 

Rockabye Baby’s highly interactive 

website and blog at http://rockabye 

babymusic.com. 

THE BIZ 

• Warner Music Group (WMG) announced 

the promotion of Mike 

Caren to President, Worldwide 

A&R. Working across Warner Music’s 

legendary labels, such as At- 

Multiplatinum Oklahoma City hard rockers Hinder will unleash their fourth fulllength 

album for Republic Records, Welcome to The Freakshow, in stores and 

online Dec. 4, 2012. The record is preceded by the anthemic first single, “Save 

Me,” impacting airwaves and available at iTunes. The record was co-produced 

by drummer Cody Hanson and Marshall Dutton in a hometown studio. Instead 

of simply sticking to a tried-and-true formula, the group decided to smash 

boundaries, experimenting with rock, pop, and even a little country. The 

resulting 11 tracks are intoxicating in the best way possible. For additional 

information, you can visit http://hindermusic.com. 

DIY Spotlight: 

—BERNARD BAUR 

• Punk band Angels Heart turned to innovation for the release of their 

latest album. They gave away free digital downloads of Tattoos & Cigarettes 

using a unique fan-friendly application. 

• Fans entered a “Daily Deal” contest via the band’s Facebook page. 

When the entries totaled 10,000, all those who had signed up got free 

access to high-quality downloads. 

• Angels Heart did not pummel people with self-aggrandizing hype 

and promotion or ask them to “Like” their page. Instead they rewarded 

people for participating in the growth of the band with a gift of their art. 

• To build up the Tattoos & Cigarettes giveaway, the band released 

one song per week from their first album, Sixty-Eight Cutlass, and forged 

a fan-friendly platform that reflected their progressive views regarding 

technology and online relationships. 

• Punk music has always been about rebellion. And, by creating an 

original fan-driven format for music distribution, Angels Heart have 

made their mark. 

• They believe that those artists who understand the changing nature of 

the industry, and proactively innovate rather than complain, will be the 

ones who rise to the top. 

• This unique approach proves their point. 

• To find out more about Angels Heart, and download some free music, 

go to http://angelsheart.com or follow them at http://twitter.com/ 

angelsheartrock. 

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

lantic, Elektra and Warner Bros. 

Records, as well as its international 

affiliates, Caren will provide creative 

leadership and support to the company’s 

artist development activities. 

His responsibilities will include discovering 

new artists, nurturing existing 

signings and working closely 

with the company’s A&R executives 

around the world. 

• Clear Channel Media and Entertainment 

and Glassnote Entertainment 

Group have reached an 

agreement that will align the companies’ 

business interests, accelerate 

growth and innovation in digital radio 

and enable Glassnote to share 

in all Clear Channel radio revenue 

streams. This market-based partnership, 

will help establish a business 

model that supports the development 

of a vibrant and sustainable 

digital music industry to the bene�t 

of all constituencies—artists, music 

companies, radio and consumers. 

• SoundExchange has announced 

the signing of a new reciprocal 

agreement to collect performance 

royalties on behalf of its recording 

artist and record label members for 

certain uses of their sound recordings 

in Canada. A US-based music 

industry non-pro�t, SoundExchange 

now holds more than 20 international 

agreements with other sound 

recording performance collecting societies 

from around the world. 

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 Check’s in the Mail–Literally! 

Jacqueline Van Bierk – TAXI Member 

www.jacquelinevanbierk.com 

I love color, especially pink ;-) 

I love writing music and performing 

with my band. I love to do the things 

people say are impossible, and I 

never take “No,” for an answer. I’m 

a dreamer, a believer and I am most 

definitely stubborn. I never really 

bought into the “struggling 

musician” mentality. I knew there 

had to be a way to turn my talent 

into a full-time career. 

I've been writing music for a very 

long time, and had tons of songs 

sitting on my computer with no 

purpose; they just didn't fit my 

band’s style. A friend told me about 

TAXI and brought me to their free, 

members-only convention, the Road 

Rally. Like many musicians, I was 

skeptical but thought, “Well, I’ve 

been asking for a sign, so I’d better 

go.” 

The wealth of information there 

just blew me away. Everything that 

previously seemed so "far out of 

reach," was now within my grasp. 

I signed up with TAXI and started 

writing for specific music industry 

requests. All of the sudden I had a 

purpose, became very focused, and 

was finishing a lot more songs and 

tracks because I had targets and 

deadlines. 

Getting Paid to Do 

What You Love 

I've become a much better 

musician and songwriter, and I’ve 

made friends with talented and 

established collaborators I've met 

through TAXI. Now I’m signed to 

two major music libraries, and my 

music is on two huge daytime TV 

shows, and several more. 

The Worldʼs Leading Independent A&R Company 

1-800-458-2111 

There's nothing more gratifying 

and inspiring than getting checks in 

the mail for doing what you love. 

Seriously, I never thought I would 

be writing for the TV shows I now 

write for. I’m so grateful my friend 

encouraged me to join TAXI. If I 

hadn’t, I’d probably still have a 

computer filled with “brilliant little 

orphans” that might have never been 

heard. 

I Spent More on Coffee! 

There are so many opportunities 

right in front of us that sometimes 

we don’t see them. I was spending 

more on coffee than what a TAXI 

membership costs. I used every 

excuse possible to delay joining. 

Ironically, I wouldn't be where I am 

today if it weren’t for TAXI and all 

the great friends I’ve made on its 

Forum and at the Road Rally. And 

this is just the beginning. 

If our purpose in life is to do 

what we truly love, then I’m living 

my dream. What’s stopping you? 

Call TAXI now! 


Jeremy Saffer 

SIGNING STORIES 

The Acacia Strain 


Midnight Conspiracy 

Date Signed: June 15, 2012 

Label: Ultra Records 

Type of Music: Electro, Dubstep, House, Heavy Bass Electronic 

Date Signed: May 2012 

Band Members: Louis Kha, Mikul Wing, Graham Geren 

Label: Rise Records 

Management: Patrick Moxey & Melissa Sabo at Empire Artist Management 

Type of Music: Death Metal 

melissa@empireartistmanagement.com, Opsin Entertainment 

Band Members: Vincent Bennett, vocals; Daniel Laskiewicz, guitar; Jack Strong, 

mgmt@opsinentertainment.com 

bass; Kevin Boutot, drums 

Booking: Cody Chapman, cody@amonly.com, Max Braun, max@amonly.com 

Management: Leah Urbano, Scott Lee/Crimson Management, 

Legal: Dean Serwin, dean@deanserwin.com, Brian Rosenblatt, 

crimsonmgt@gmail.com 

brosenblatt@salawus.com 

Booking: Matt Pike/The Kenmore Agency; Tom Taaffe/The Agency Group 

Publicity: Oscar Scivier, oscar@ultramusic.com 

Legal: Brian Christner 

Web: http://midnightconspiracy.com 

Publicity: Mike Cubillos, mike@earshotmedia.com 

A&R: Jeremy Vuernick, jeremy@ultramusic.com 

Web: http://theacaciastrain.com 

A&R: Craig Ericson 

When introducing your band, more than likely it sounds something 

W 

like: Jeff Somebody on guitar, Tommy Forgettable on bass and 

hen the Acacia Strain sought a new label, Rise Records wasn’t 

Keith Nobody on drums. With Midnight Conspiracy considering 

the �rst that came to mind. The Massachusetts death metal band 

themselves a “Live Experience,” their de�nition is a little different. 

didn’t think their style �t the label’s bill, but a meeting with Rise 

“If you were to break it down,” explains Loius Kha, one-third of the DJ 

CEO Craig Ericson changed their minds. 

collective, “generally Mikul [Wing] is in charge of visual, Graham [Geren] is 

“When we met with Craig, he took us out to dinner, we had a beer, 

the engineer and is deep into music production and I am more in charge of 

and he laid it out on the table," says vocalist-songwriter Vincent Bennett. 

the music at live shows.” While Geren doesn’t join Kha and Wing on stage, 

"He’s just an old rock dude who signs bands to put out the records he 

he is still considered an intricate part to their success and has been involved 

wants to put out. Nowadays, people sign bands to make money, and 

since the beginning. 

that’s their end game. Craig puts the money back into the label and gives 

“Mikul and I threw these weekly [indie-electro] basement parties in Chi- 

a chance to bands that wouldn’t normally get a chance.” 

cago” Kha continues. “Graham and another guy performed in another 

group [at the party]. This was where the idea of Midnight Conspiracy came 

together.” 

“Having someone to put out your CD isn’t really enough. 

You need someone who backs your ideas, listens to you 

and will carry out the things you want carried out.” 

The Acacia Strain, though the band's lineup has changed several times, 

have wizened in their 11 years as a band through their experiences 

with two drastically different labels. 

“Devil’s Head was a one-man hobby operation, and I learned it’s hard 

to run your own record label, especially now with digital downloading and 

pirating. The only real marketing an independent label can have is vinyl, 

which is getting huge in hardcore and punk rock,” Bennett says. What his 

band learned from Prosthetic Records is to never sign a deal for more 

than two records. "When you’re a brand new band like we were when we 

�rst signed, we were just excited to be on a record label. Fast-forward 

eight years and you’re a different person. Prosthetic’s priorities didn’t 

change, and ours did." Bennet feels that as a band grows and evolves, 

their label needs to grow and evolve along with them. "If it doesn’t, you 

need to seek out other options," is his advice. 

The band signed to Rise for one album, and Bennett says he’s excited 

about the label’s openness to marketing ideas. 

"Having someone to put out your CD isn’t really enough,” Bennett 

says. "You need someone who backs your ideas, listens to you and will 

carry out the things you want carried out. We’re brimming with ideas, and 

our past experiences with record labels is they do what they want, and 

they don’t care what you think. They have a preconceived plan set up 

for you. But Rise is open for anything. That’s their strongest attribute for 

us—that they would even consider ridiculous ideas.” 

The release date for Death is the Only Mortal, the Acacia Strain’s sixth 

studio album, was Oct. 9th. 

——Jessica Pace 

“I don’t know if the whole DIY approach gives you 

legitimacy, but at least you can take pride in saying 

you’ve done everything.” 

Midnight Conspiracy’s signing story began to unfold through two parallel 

story lines: While the band continued to expand their Chicago fan base, 

Ultra Records owner Patrick Moxey was halfway around the world in search 

of a new artist to sign. 

“Patrick went to school at the University of Chicago, so he has some 

[local] ties,” continues Kha. “He ran into a Chicago promoter in Amsterdam 

and [inquired about the Chicago scene]. That’s when he heard word of us. 

He came to our studio and hung out with us all day. … It was like he wanted 

to help blow us up because of his Chicago pride. He made it happen.” But 

Conspiracy’s signing was one of hard work more than chance. There is 

no greater example than with the band’s “Eye Live”—an EDM/dubstep 

performance with a giant laser light known as “Eye Live,” inspired by acts 

like Pink Floyd and Ghostland Observatory. 

“We want to make sure we’re never manufactured,” explains Kha. “Eye 

Live is a 16-ft. version of our Eye logo. It has LED lasers and we envisioned 

the whole design. We had a lot of our friends help to build it but it’s constantly 

being modi�ed.” 

Keeping the DIY revenue �owing, the band share a clothing collective 

with other artists. Titled Dead Fame, the collective avoids direct relation to 

any of the artists involved to keep the merchandise more accessible. Adds 

Kha, “I don’t know if the whole DIY approach gives you legitimacy but at 

least you can take pride in saying you’ve done everything.” 

Midnight Conspiracy’s newest single, “Sentinel,” will drop on Oct. 30th. 

——Andy Mesecher

SIGNING STORIES 

Autumn Owls 

Date Signed: July 2012 

Label: Epitonic 

Type of Music: Indie Rock 

Band Members: Gary McFarlane, vocals, guitar; Will Purtill, drums; 

Adam Browne, bass. 

Management: Brian McKinney / Crooked House Management, 312-532-2013, 

brian@crooked-house.net 

Booking: NA 

Legal: Tim Boris / The Boris Group, 805-280-9001 

Publicity: Brian McKinney / Crooked House Management, 312-532-2013, 

brian@crooked-house.net 

Web: http://autumnowls.com 

A&R: Justin Sinkovich 

What’s interesting about the band’s deal is that there’s nothing in writing. 

The agreement is merely oral—done on a handshake. But such deals are 

not unknown. Remember New Order and their famous non-deal with Factory 

Records? “It’s a partnership, really,” McFarlane observes. “There are bene�ts 

to both parties. It helps us because of their experience, contacts and 

distribution. It helps them by shining a spotlight on the label. There’s a belief 

that the album is going to have an impact. It’ll turn people on to Epitonic and 

their website.” 

Epitonic was established in the late ‘90s as an indie music website 

clearinghouse. Autumn Owls are the �rst band they’re working with as they 

expand into the role of record label. 

Between Buildings, Toward The Sea had a European release on Oct. 16, 

Oct. 23 in the States. The band are currently playing a number of shows in 

and around Dublin. 

——Rob Putnam 

Tito Lopez 

Date Signed: June 2011 

Label: Capitol Records 

Type of Music: Rap/Hip-Hop 

Management: Keith Watts/Klockwork Orange Inc. 

Booking: TBD 

Legal: Matthew Middleton, 212-262-5003 

Publicity: Gihan Salem/EMI Music, gihan.salem@emicap.com 

Web: http://titolopezofficial.com 

A&R: Steve Prudholme 

When you think Capitol Records, home to artists like Katy Perry and 

Coldplay, rap music probably isn’t what immediately comes to 

mind. Southern-born rap/hip-hop artist Tito Lopez is changing that. 

“I just wanted to be different, and I just like the challenge. I could have 

worked with a few different labels. Capitol isn’t very big on rap, and I just 

Dublin, Ireland’s Autumn Owls landed their deal with the label arm of wanted to see if I could �x that,” Lopez says of his new label, which is giving 

music website Epitonic when they made an impression on the man- him a lot of focus as an outlier. 

ager of another band at South by Southwest. He soon thereafter “I think they’re good people and they can put me in the right direction. I’m 

reached out to Autumn Owls, which led to their song “Spider” being included trying to get beyond just hip-hop and let it just be music in general. I write in 

on the Epitonic compilation Epitonic saki Sessions. 

a lot of different genres as opposed to just hip-hop.” 

Sometime later, the band were working on a record with producer Brian With a lyrical style that’s inspired by “everyday life, but not just mine,” and 

Deck (Counting Crows, Modest Mouse, Tortoise) in Chicago. Epitonic had compared to Big K.R.I.T., who spent the summer and early fall on tour with 

set up an in-store performance for the band at Chicago’s saki, a music and Lopez, the rapper’s breakthrough songs are radio-ready and not without 

book store. They played some of their new material and Epitonic dug it. traces of pop, blues and soul. Lopez’s �rst single, “Mama Proud,” dropped 

“They’d been tinkering with the idea of turning Epitonic into a label,” says in March this year and is a rapper’s quintessential “make-it” tune that’s been 

vocalist Gary McFarlane. “We’d been in contact with Justin [Sinkovich, Epi- called everything––powerful, adorable, provincial and mainstream––but is a 

tonic head] and he kept checking on how we were getting on. Ultimately nonetheless genuine account of struggling to get something better. 

he asked us if we’d like to be the �rst band to sign to their label. America 

is what we’re interested in and where we want to play so it was a great link 

into the US.” 

“America is what we’re 

interested in and where we 

want to play so it was a great 

link into the US.” 

Michael Mihail 

“As soon as you sign that contract, the 

workload increases. It’s like signing to 

the NBA—once you’re in the league, 

you’ve got to win some games. ” 

In 2009, the Gulfport, MS native, who released DIY mixtapes since high 

school, was discovered by manager Keith Watts. Watts introduced Lopez to 

Def Jam Cypher, which led to Capitol Records. Lopez recorded his debut 

with a number of producers including DJ Troomp and Organized Noize in fall 

2011 and a co-sign with Dr. Dre. 

Signing to Capitol was something Lopez was prepared and yet unprepared 

for,” he says. “I’ve been all over doing shows. But you’re never totally 

prepared, because as soon as you sign that contract, the workload 

increases. It’s like signing to the NBA––once you’re in the league, you’ve 

got to win some games. You’ve got to keep working, now on a bigger scale." 

The artist got there by doing the same things he raps about: sticking 

around and abiding by the trite but true principle of being himself. “Don’t let 

anybody tell you what music to make, lyrics to write or even how to dress. 

Most labels aren’t trying to shape you or mold you now. I was fortunate 

enough to just get signed off of talent. I didn’t have some huge YouTube 

video that went viral. Just stick with it, it will pan out, because wherever 

you’re supposed to be at, you’ll end up there.” 

Tito Lopez’s Capitol debut is set for an early 2013 release. 

——Jessica Pace 


SONG BIZ 

CHUCK D. IN HOLLYWOOD BIG JON TO W/C MUSIC POST 

Song Biz was on hand at the Roosevelt Hotel in Hollywood for the Digital Media 

Wire (DMW) extravaganza, Digital Music Forum West. Said Chuck D., founder 

of Public Enemy. “Songs are like oil wells... Keep writing them because you 

never know when one is going to spout!” Pictured (l-r): Ted Cohen, managing 

partner at TAG Strategic, with Chuck D. 

Guitar Center Courts 

Singer-Songwriters 

The world’s largest retailer of musical instruments, 

Guitar Center has announced the return 

of Guitar Center Singer-Songwriter, 

the nationwide search for the next great undiscovered 

songwriter. 

Now through Dec. 23, 2012, unsigned singersongwriters 

from across the United States 

are invited to submit an original live music 

performance video at http://guitarcenter.com/ 

songwriter. Introduced last fall and receiving 

over 17,000 submissions, the Guitar Center 

Singer-Songwriter program has quickly become 

a premier platform for aspiring songwriters to 

achieve the opportunities and exposure necessary 

to attain a successful career in music. 

The winner of Singer-Songwriter will receive 

a valuable recording opportunity—heading into 

the studio to work alongside Grammy-winning 

producer John Shanks to record a four-song EP. 

The winner will then have the chance to debut their 

work on national television, heading to Hollywood, 

CA, to perform on Jimmy Kimmel Live! 

Submissions will be ranked through the use 

of WHOOZNXT, a leading digital music company 

that tracks an artist’s fan growth across top 

social networks and music portals. All artists 

WILLIE FIRES UP NEW AUTOBIOGRAPHY CMA SERIES WELCOMES BUSH & GILBERT 


who enter will be ranked based on their online 

fan growth during the �rst round. In the second 

round, the top-ranked 140 artists will be reviewed 

personally by Grammy-winning producer Shanks 

who will handpick 10 �nalists to perform live at 

the Hotel Café in Hollywood, CA, where one 

winner will be chosen. 

Randy Newman: 

A Caucasian Unleashed 

Randy Newman is weighing in on the presidential 

election with his song, “I’m Dreaming,” 

and its satiric lines, “I’m dreaming of a white 

president.” Newman, who is supporting President 

Barack Obama, says he wants the public 

to �nd comedic relief in the song, but to also 

know he’s serious about his thoughts that 

racism is well and alive in the world—and in the 

current presidential race. He called racism “the 

great issue of this country.” The Oscar-winning 

Songwriters Hall of Fame inductee and 2013 

Rock and Roll Hall of Fame nominee said some 

friends told him to save the track, which he wrote 

a couple weeks ago, for an upcoming album, but 

he says releasing it now is perfect timing. 

“I think it’s for the moment,” he says “It’s not 

going to live forever.” Download at http://none 

such.com/artists/randy-newman. 

Willie Nelson will 

release a new 

autobiography, 

Roll Me Up And 

Smoke Me When 

I Die, on Nov. 

13th. Publisher 

William Morrow 

says the American 

music icon will 

tell never-beforeheard 

stories about 

his life, family, 

music, politics, 

Texas, religion 

and favorite 

recreational 

activity. 

Big Jon Platt, a music-publishing veteran of EMI responsible for signing top 

hip-hop and R&B talent (Usher, Drake, Ludacris and others), has announced 

that he has landed at Warner Music Group as president of creative at Warner/ 

Chappell, the company’s publishing division. Pictured (l-r): Pharrell Williams 

and Big Jon Platt. 

ASCAP Amps Up 

Live Payments 

If you are an ASCAP member, you can now 

receive royalties when your music is performed 

live at venues of all sizes throughout the country. 

Just provide the basic details of the performance 

and which of your songs were performed and 

you’ll receive an OnStage payment with your 

normal ASCAP distribution. The organization 

urges its members to make ASCAP OnStage 

a regular part of their post-show routine, no 

matter how big or small the venue. OnStage is 

available 24/7 via a Member Access account 

for convenience and �exibility. Features include: 

payment for every live performance, the ability to 

track your live performances; save multiple set 

lists for easy submission and, coming in January, 

OnStage will be available via ASCAP Mobile. 

See http://ascap.com. 

Kassner Music Appoints 

Charlie Pinder 

Independent publisher Kassner Music has 

appointed Charlie Pinder to the position of head 

of A&R. Pinder started his career as an A&R talent 

scout at EastWest Records before joining 

Sony/ATV Music Publishing where he signed 

Sugarland’s Kristian Bush (pictured) will celebrate the upcoming 46th Annual 

CMA Awards one day early, by appearing together with Brantley Gilbert at the 

latest CMA Songwriter Series installment. Nominated for a CMA trophy (for 

Vocal Duo and New Artist of the Year, respectively), the two will perform in 

Nashville, TN, at Marathon Music Works on Oct. 31st. 

DANA TYNAN

SONG BIZ 

PAUL WILLIAMS: STILL ALIVE 

Paul Williams won Grammys and an Oscar; wrote Barbra Streisand’s “Evergreen,” 

the Carpenter’s “We’ve Only Just Begun” and the classic “The 

Rainbow Connection”; starred in a Brian DePalma movie; put out his own hit 

records and albums; was a guest on The Tonight Show 50 times; and today is 

the president of ASCAP. The self-narrated documentary of Stephen Kessler’s 

lifelong obsession is available on video-on-demand platforms this month. 

Travis, Razorlight, Gary Barlow, Katie Melua, 

Catatonia, Sleeper, KT Tunstall and others. 

He was appointed Managing Director at Sony/ 

ATV, and steered the company to a No. 1 market 

share position in the UK before moving to V2 

Records as Head of A&R where he worked with 

artists such as Duke Special, Cold War Kids, 

the Rakes and Lethal Bizzle. 

Kassner Music, which was originally formed in 

1944 by Edward Kassner, oversees in excess 

of 100,000 copyrights and has a diverse catalog 

of songs that includes hits from the 1950s to the 

present day by artists ranging from Vera Lynn 

and Bill Haley and the Comets to Beyonce and 

Chris Brown. The company, and Pinder, are in 

London. See http://kassnermusic.com. 

Brenda Russell: That Piano 

Keeps Playing 

Song Biz Pro�le subject and hit songwriter 

Brenda Russell is sampled on the new Flo Rida 

single, “I Cry.” The track is actually a sample 

of a sample: the Dutch duo Bingo Players 

�rst reworked “Piano” as “Cry (Just a Little),” 

which reached No. 15 on Dance/Mix Show Airplay 

in March. Co-written with Jeff Hull and 

Scott Cutler, “Piano” was nominated for three 

Grammys, including song of the year, in 1989. 

SESAC SIGNS CORB LUND 

Russell’s newest project is “L.O.V.E. (Let One 

Voice Emerge),” which she co-wrote with Patti 

Austin, Siedah Garrett and Mervyn Warren. 

Sharing vocals are Fergie, Keke Palmer, Sheila 

E, Judith Hill, Lalah Hathaway and Jenna 

Ushkowitz, aka Tina Cohen-Chang of Fox 

TV’s Glee, as well as Russell, Austin and Garrett. 

Available on iTunes, the song accompanies 

a non-partisan campaign to reach out to the 

largest group of non-voters in America—nearly 

20 million unmarried women—and support the 

Voter Participation Center, which has identi�ed 

unmarried women as a crucial, yet unrecognized, 

constituency, and its partners. “The message is 

simple: Get registered and get to the polls on 

Nov. 6," says VPC president Page Gardner. 

The video for “L.O.V.E.” has garnered 110,000 

YouTube views since its posting. 

Nashville Songwriters Hall 

Headed Home 

The Nashville Songwriters Hall of Fame will 

be permanently housed in the new Music City 

Center currently under construction in Nashville, 

TN. Nashville mayor Karl Dean joined Hall of 

Fame songwriters Wayland Holy�eld, Pat Alger 

and Kye Fleming along with officials from the 

Music City Center, to make the announcement. 

—DAN KIMPEL dan@dankimpel.com 

SESAC has welcomed SOCAN singer-songwriter Corb Lund for US representation. 

Lund, an Alberta-born artist-songwriter who was named the Canadian 

Country Music Association’s “Roots Artist Of The Year” for seven consecutive 

years, has recently released his seventh album, Cabin Fever. Pictured (l-r): Tim 

Fink, SESAC; Lund; and Shannan Hatch, SESAC. 

The Hall of Fame will feature songwriting artifacts 

as well as three 55-in. touch screens that 

will allow visitors to access sound, video and 

other digital information about the history of 

Nashville songwriting and all 184 members of 

the Hall of Fame. 

The Hall will launch a capital campaign at its 

annual Dinner and Induction Ceremony. Early 

contributions from Foundation Board members, 

ASCAP, BMI, SESAC and Nashville publishing 

companies Sony/ATV, Warner Chappell and 

Universal among other music industry leaders, 

have already helped lay the groundwork for 

construction. 

The Nashville Songwriters Hall of Fame is 

expected to be open for visitors when the Music 

City Center opens in the spring of 2013. See 

http://nashvillesongwritersfoundation.com. 

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. 

A$AP ROCKY TO BMI BRANTLEY GILBERT GOES FOR THE GOLD 

Fresh off an appearance at the 2012 MTV Video Music Awards performing with 

Rihanna, rapper A$AP Rocky recently signed with BMI for his performing rights 

administration. Rocky is currently finishing up his debut, LongLiveA$AP, which 

is scheduled to be released later this year on A$AP Worldwide/Polo Grounds/ 

RCA Records. Pictured at the BMI offices in New York (l-r): Rocky and Wardell 

Malloy, BMI Senior Director, Writer-Publisher Relations. 

After co-penning Jason Aldean hits “My Kinda Party” and “Dirt Road Anthem,” 

Brantley Gilbert's own Halfway to Heaven album has been certified gold. Catch 

him at the CMA Songwriter Series in Nashville, TN. 



SONG BIZ SONGWRITER PROFILE 

Marti 

Frederiksen 

Aerosmith, Rascal Flatts and Carrie Underwood 

By Dan Kimpel 

Music from Another Dimension!, the newest Aerosmith release, has 

been a long time coming. For material on this much-anticipated project, 

the band invited a principal colleague, Marti Frederiksen, to cowrite 

�ve songs and to produce three of the tracks. 

The Southern California native notes that it takes time for this band to 

assemble the machine. “It’s hard to get material out,” he says, “getting all 

of those guys together on a full record. But once they do, they really focus.” 

One song that Frederiksen helped pen, “What Could Have Been Love,” 

has elements in its arrangement that resemble contemporary country radio. 

“That song has been around,” says Frederiksen. “Joe Perry put a B-bender 

on it to make it sound more country.” 

Now living in Nashville, TN, Frederiksen has penned songs for Rascal 

Flatts and Carrie Underwood, who also duets with vocalist Steven Tyler 

on “Can’t Stop Loving You,” from the new Aerosmith album. “Carrie has 

songs coming as singles,” he says, “and the only reason that they’re country 

is that they’re pushing that format. Pop is so programmed. What makes 

something country is when real players are on the track.” Although he and 

his partners own Westwood Studios, a full-on Nashville tracking room, he’s 

not a participant in Music City’s circles of multiple daily co-writes. “I’m not the 

guy who has to book a writing session every day,” he con�rms. 

Best known for his work with hard rockers, from Def Leppard to Daughtry, 

Frederiksen provided the voice for the lead singer of the mythical band 

Stillwater in Cameron Crowe’s rock epic, Almost Famous. “Cameron did it 

right, this being his story,” says Frederiksen. “And Nancy Wilson, (Crowe’s 

now ex-wife, co-founder of the band Heart who composed the �lm’s music) 

really lived in that era.” 

Born in Hawthorne, CA, Frederiksen played drums in local bands before 

diving into the Hollywood music scene of the early ‘80s. In 1983, he landed 

on Geffen Records as the drummer for a band called Drop in the Gray, with 

their debut being released a year later. “My �rst record deal came through 

an ad in Music Connection,” says Frederiksen. “Talk about connecting 

people: you have a success story right here.” 

After the demise of the band, he concentrated on co-writing and production, 

landing a pair of No. 1 songs for Brother Cane. Columbia Records 

A&R whiz John Kalodner invited him in to work with Aerosmith on the band’s 

Nine Lives, and the success of that record, including the Tyler/Frederiksen 

smash “Jaded,” placed him on a prominent short list of outside hit makers. 

“I feel like I’m in the band in some sense,” says Frederiksen, “working with 

them all of these years like a solid member on the scene.” 

Frederiksen can work fast. He and Gavin Rossdale co-wrote “Love 

Remains The Same,” a BMI-award winning song, in a couple of hours. 

“Someday,” a new collaboration with Tyler, Mark Spiro and Julian Lennon, 

slated for Lennon’s forthcoming album, was written within a similar time 

frame in a hotel room at the Sunset Marquis. 

Penning pop is a current Frederiksen endeavor. “I have been working on 

songs for the new Rihanna record. We’ll see if I end up with something. I’m 

also leaning toward alternative, where there are no rules. You can use any 

kind of instrumentation, combining real stuff with synths and plug-ins.” 

Bouncing between his Nashville home and a condo in Maui, Frederiksen 

exudes an aura of upbeat un�appability. “Depending on who you work with 

and write with, you can pretty much go with everything. I remember working 

with Backstreet Boys one day and Jerry Cantrell from Alice in Chains the next.” 

Meanwhile, Nashville seems to be a fertile locale. “The cost of living 

is down, but the weather’s not L.A.,” says Frederiksen. And although his 

creativity is not aligned with the sun, he does believe that he might be more 

productive on rainy days. “It’s good to be inside and know that you’re not 

missing anything.” 

Contact Ken Phillips Publicity Group, Inc., 

http://kenphillipsgroup.com

YOUR MUSIC. 

YOUR RIGHTS. 

YOUR MONEY, 

MONTHLY. 

GET PAID 

EVERY 

MONTH 

NASHVILLE I LOS ANGELES I NEW YORK I ATLANTA I MIAMI I LONDON I WWW.SESAC.COM 

You asked, we listened. 

SESAC now pays monthly. 

As the most progressive 

performing rights organization 

in the U.S., we are proud to 

off er our affi liates payments 

every month. Why wait? Learn 

more at www.sesac.com 

September 2012 www.musicconnection.com 31

FILM•TV•THEATER 

Jimmy Kimmel and Louis Prima Jr. 

PROPS 

Louis Prima Jr., son of the late legendary 

singer and bandleader Louis Prima, along with 

his band the Witnesses featuring Sarah Spiegel, 

brought the crowd to their feet during Prima Notte 

(“�rst night”) at the 11th Annual Galbani Italian 

Feast of San Gennaro L.A. Hosted by Jimmy 

Kimmel (chairman of the Feast) and Adam Carolla, 

LPJ and his band headlined at the packed 

VIP-only Opening Night Fundraising Gala. For a 

list of upcoming shows, visit http://louisprimajr. 

com or contact Steve Levesque at LUCK Media & 

Marketing, Inc. 818-232-4175 or info@luckmedia. 

com. 

Former Three Dog Night frontman Chuck Negron 

was recently the main guest on the Ask Dino 

Show, a music interview program hosted by record 

producer Dino Maddalone. The fast-paced 

music biz/entertainment talk show is available on 

Time Warner Cable and all social media including 

YouTube (http://youtu.be/pJGDPJ9ptZg). For 

complete information about the Ask Dino Show, 

email dinom4@aol.com. 

On Thanksgiving eve, catch the Spike Lee 

directed documentary about Michael Jackson 

which will air on ABC, Nov. 22nd. This is the defacto 

launching pad for Siedah Garrett who sang 

with Jackson on “I Just Can’t Stop Loving You” 

and wrote “Man In The Mirror.” She was also invited 

to go on the Bad Tour. Quincy Jones thought 

it best, given Garrett’s newly acquired fame, that 

she make a solo disc instead. She was replaced 

by Sheryl Crow on the tour but eventually went 

out with Jackson on the Dangerous Tour. 

Ask Dino Show 


At that time, Oprah Winfrey offered the singer 

a TV series but she turned Oprah down in favor 

of Jackson. Garrett has also written a follow-up 

to "I Just Can’t Stop Loving You," called “Keep 

On Lovin’ You.” It is from her forthcoming new 

disc. Since her time with Jackson, Garrett has 

won a Grammy for writing a song for J-Hud on 

the Dreamgirls soundtrack. She was also nominated 

for her �rst Oscar then and most recently 

was nominated for an Oscar again this year for 

“Real In Rio” from the �lm, Rio. Contact Courtney 

Barnes at 323-466-9300 or scb27@aol.com. 

Joel Beckerman’s 

Man Made Music 

has once again been 

tapped to develop the 

theme for ESPN Film’s 

sports documentary series, 30 For 30, Volume II. 

Man Made Music created a rock-infused electronic 

theme that provides a fresh spin on the franchise’s 

unmistakable three-note mnemonic, originally created 

by Man Made for the �rst set of documentaries 

in 2008. Contact Pam Workman at WE + PR, 

212-256-0592 or email pam@workmanentertain 

ment.com. 

Film composer Ryan Shore has created the 

action-driven music score for Spy Hunter, the 

reboot of the legendary combat driving series, 

specially developed for PlayStation Vita and 

Nintendo 3DS. The newly released game is published 

by Warner Bros. Interactive Entertainment 

and developed by TT Fusion. Spy Hunter 

marks the �rst video game score for composer 

Shore who recently received a Grammy nomination 

for Best Score Soundtrack (The Shrine). For 

complete information contact Greg O’Connor- 

Read at Top Dollar PR, 702-407-0935 or greg@ 

topdollarpr.com. 

OPPS 

Cirque du Soleil is actively casting for performers 

and tech support for productions at different 

locations across the country. Get the latest 

listings at http://cirquedusoleil.com/en/jobs/home. 

aspx. 

The Talent Shopping Network is open. Talent 

of all types are welcome to register for free, 

create a portfolio to share with friends and get 

ready to audition for jobs and career opportuni- 

ties. Go to http://thetalentshoppingnetwork.com 

and use promo code “Talent Friend” to take advantage 

of this free opportunity. 

The 2nd annual Maryland Parkway Music 

Festival takes place Nov. 2-4th. This multi-day 

event will feature music, art, poets, vendors, 

exhibits and demonstrations in and around the 

Nevada neighborhoods of Maryland Parkway 

complete with local as well as touring bands and 

musicians. The goal of the festival is to showcase 

diverse cultures, businesses, talents and 

neighborhoods around this historic Las Vegas 

street. Diesel Rocket Promotions is promoting 

the event. Those interested in being a sponsor, 

vendor, venue, volunteer, performer or for more 

information contact: 702-353-8178 or maryland 

pkwymusic@yahoo.com. 

The New England Film and Music Festival 

is now accepting Film and Original Music submissions 

for the Festival Event the weekend Apr. 19- 

21, 2013, at the Crowne Plaza Cromwell, CT. 

Film Submissions are limited to the �rst 100 Films 

that are submitted and the �rst 100 musicians or 

bands featuring original music. Music videos are 

optional. The Festival is designed to promote local 

entertainment from the New England area. 

To submit either �lm or music visit http://ne�lm 

Fest.com. For further information, contact info@ 

ne�lmfest.com or call 860-436-9449. 

Where Dreams Come True is a new website 

dedicated to any talent that would like to be seen 

by the world. Video, sound �les and pictures can 

be posted at http://812dreamer2.ws. 

Every Monday night is open mic night at The 

Iguana in New York City. Singers are invited to 

bring sheet music or backing tracks and to utilize 

their performance as an audition for a possible 

cabaret show booking. Open mic night is 6:30- 

9 p.m. For directions or more information, call 

212-874-7956. To preview the event, visit http:// 

gottasingnyc.com or subscribe to the YouTube 

Channel http://youtube.com/gottasingnyc. 

DROPS 

Using atonal textures, composer Daniel Licht 

creates a dark ambient score for the video game 

Dishonored. The game has just been released 

for Playstation 3, Xbox 360 and Microsoft Windows. 

Licht is currently scoring his seventh consecutive 

season of Showtime’s Emmy-winning 

series Dexter and NBC’s new midseason drama 

Infamous. For more information contact Alex 

May at Costa Communications, 323-650-3588. 

Dishonored

FILM•TV•THEATER 

World-renowned ballet educational institution, 

the Joffrey Ballet School, is participating in the 

new Lifetime series, Abby’s Ultimate Dance 

Competition. The show is a spin-off from the star 

of Dance Moms, Abby Lee Miller, who will be 

the lead judge for the dance competition in which 

12 young promising dancers will compete for a 

$100,000 grand prize, and a scholarship to the 

prestigious Joffrey Ballet School. Check your 

guide for show times. For more information visit 

http://joffreyballetschool.com or contact Alison 

Voetsch at the Press House, 914-629-7491 or 

alison@thepresshouse.com. 

The real-life exploits 

of glam band Nova Rex 

come back to life in the 

newly released documentary 

Nova Rex: Ain’t 

Easy Being Cheesy. The 

DVD of the �lm recently 

seen on the Discovery 

Channel recalls the 

heavy-metal group riffing 

through the late ‘80s hairband 

era before crashing 

into a wall of early ‘90s 

grunge. Between tons 

of music, classic video 

footage and photographs 

spanning decades of live 

performances and wild 

backstage action, guitarist 

JP Cervoni, bassist Kenny Wilkerson, vocalist 

Kevin Tetz and various music-industry insiders 

remember the times through funny and insightful 

interviews with director Dean Robinson. Watch 

the trailer at http://youtu.be/_FjaTiGyuxQ. For 

complete information contact Ken Wilkerson via 

http://quantumrecords.com or quantumrecords@ 

earthlink.net. 

Roots music fans will 

want to check out the �rstever 

release of Ballads, 

Blues, and Bluegrass. 

The �lm––directed by the 

legendary Alan Lomax–– 

is a remarkable portrait 

of a brief, fabled era that 

was widely documented 

in recordings but all too 

under represented in moving 

image. In the early 

1960s, when Greenwich Ballads, Blues, and Bluegrass 

Village was bursting with 

a folk-music revival, Lomax invited a who’s who 

of the folk revival back to his West Third Street 

apartment for an impromptu song-swap. Filming 

was arranged on the �y with some of the biggest 

names of the era, old-timers and revivalists 

alike, including Doc Watson, Gaither Carlton, 

Memphis Slim, Willie Dixon, Jean Ritchie, 

Ernie Marrs, Peter LaFarge, Ramblin’ Jack 

Elliott, the Greenbriar Boys and the New Lost 

City Ramblers. The footage of Doc Watson 

is his �rst known �lm appearance. See that 

special performance at http://www.youtube.com/ 

watch?v=cld0f8ooXcg. 

Leah Pipes 

The Grand Nationals 

Relativity Music Group and ATO Pictures 

have the original motion picture soundtrack for 

The Oranges, featuring exclusive new music 

from indie folk darlings, the Grand Nationals. 

The comedy features an ensemble cast 

including Hugh Laurie, Catherine Keener, 

Oliver Platt, Allison Janney, Alia Shawkat, 

Adam Brody and Leighton Meester. The 

Oranges is in theaters nationwide. Purchase the 

soundtrack on iTunes here: http://bit.ly/QKVQIY. 

For further information, contact Dayna Ghiraldi 

at Big Picture Media, 212-675-3103 or dayna@ 

bigPictureMediaOnline.com. 

Lakeshore Records will release the Butter – 

Original Motion Picture Soundtrack to stores 

on Nov. 13th. The album features original songs 

by Fitz and the Tantrums, Imani Coppola featuring 

Time Myers, Jonsi and Raphael Saadiq, 

along with one track from the score by Mateo 

Messina. For more information reach out to cin 

emediapromo@yahoo.com. 

ABKCO Films is celebrating the Rolling Stones 

50th Anniversary by announcing exclusive details 

of the release of the legendary, 

but never officially released 

�lm, The Rolling Stones Charlie 

is my Darling – Ireland 1965, the 

cinematic debut of the band. The 

Rolling Stones Charlie is my Darling 

– Ireland 1965 was shot on a 

quick weekend tour of Ireland just 

weeks after “(I Can’t Get No) Satisfaction” 

hit No. 1 on the charts. 

This new cut of the �lm features 

newly discovered never-beforeseen 

or heard performances and 

will be released in Super Deluxe 

Box Set, Blu-ray and DVD con�gurations worldwide 

on Nov. 6th. For complete information contact 

Bob Merlis at M.f.h., 323-962-6887 or bobmer 

lis@bobmerlis.com. 

Musical Chairs, the latest �lm by director 

Susan Seidelman (Desperately Seeking Susan), 

will be screened at The International 

Film Festival of Manhattan on Thursday, Nov. 

15, at Quad Cinemas. A unique blend of dance, 

drama and romance, the �lm stars newcomers 

Leah Pipes and E.J. Bonilla as a pair of unlikely 

lovers in contemporary New York set against a 

background of competitive ballroom dancing. For 

more on the �lm visit http://musicalchairsthe�lm. 

com or contact Dayna Ghiraldi at Big Picture Media, 

212-675-3103 or dayna@bigpicturemediaon 

line.com. 

MICRO-BIO: In a 20-plus 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. 

Jerod Harris Wire image 

—TOM KIDD prespak1@verizon.net 

OutTAKE 

Will Bates 

Composer & Founder 

Fall On Your Sword 

E-mail: lucy@fallonyoursword.com 

Web: http://fallonyoursword.com 

Most Recent: Nobody Walks, 28 Hotel Rooms 

Fall On Your Sword is the multimedia composing 

entity founded by Will Bates and 

Philip Mossman. Though originally from 

London, Bates and Mossman met in Brooklyn 

where they now record and reside. The duo has 

gained swift recognition as a rising force in the 

world of feature �lm scoring as well as recording/performing 

artists and viral video mavericks. 

Together they have amassed over 2 million You- 

Tube hits. 

The duo was recently named Discovery of 

the Year at the World Soundtrack Academy 

Awards, making FOYS the latest overnight sensation 

that took a long time to happen. “I’ve been 

pounding away at the composer world,” admits 

Bates. “I’ve wanted to be a composer since I 

was age 5.” 

This circuitous route started with training as a 

jazz musician leading Bates to learn both violin 

and saxophone. Discovering techno at age 19, 

he went on to release CDs in his native London. 

He took a turn as a singer-songwriter, put together 

an indie band and, after learning production, 

discovered he could put all these pieces together 

himself and make a career out of playing 

jazz, scoring �lms and writing for other artists. 

UK commercials led to US commercials. The 

company hit the prestigious Sundance Film 

Festival with the independent �lm While We’re 

Young. Ultimately, indie �lm work led to major 

features including FOYS’s latest two, Nobody 

Walks and 28 Hotel Rooms, both with attendant 

score releases. 

The style of FOYS is breaking through. “Being 

a Brit in New York is sometimes an advantage 

and sometimes not,” he says. 

“I have so many in�uences. It’s a wide range 

of styles. What de�nes everything is music that 

does something. It shouldn’t be wallpaper.” 


Tony Landa 

Marisa McGrody 

MIXED SIGNING NOTES STORIES 

PRIMETIME MIXER: On Oct. 3rd, Man Made Music—an industry leader in sonic branding 

and music for media—hosted Primetime Salon, an intimate industry mixer. Held at Soho 

House in New York City, it featured a special performance by MS MR. Pictured (l-r): Natalia 

Romiszewski, Man Made Music’s Director of Business Development/Music Strategy; Lizzy 

of MS MR; Joel Beckerman, Man Made Music’s Founder and Lead Composer; Max of MS MR; 

and Allison Meirsonne, Man Made Music’s VP of Business Development and Partnerships. 


oscar Jordan 

CORIN TUCKER ROCKS THE GULF: The Corin 

Tucker Band took the stage with other music 

heavyweights at this year’s DeLuna Festival 

in Pensacola Beach, FL. Tucker shared the 

stage with the Foo Fighters, Pearl Jam, Band 

of Horses, the Zac Brown Band, Florence + the 

Machine, Band of Skulls and many more. Get a 

full wrap at http://delunafest.com. And for many 

more amazing, one-of-a-kind live shots of touring 

artists, check out http://musicconnection.com. 

ANOTHER YEAR, ANOTHER GREAT AMP SHOW: 

Super guitarist Phil X rocked out at the 2012 L.A. 

Amp Show held in Van Nuys, CA, last month. The axe 

man demonstrated the new Evil Robot amp with a full 

complement of blistering guitar work. The annual AMP 

Show brings together the industry’s finest guitar related 

businesses. For full Amp Show coverage, including an 

exhibitor list, see http://ampshow.com. 

BAY AREA PRODUCERS 

PANEL: Platinum record 

producer Kimo Kaulani 

of the production duo 

Audio Blueprint is seen 

speaking to aspiring 

music producers and 

artists at the Bay Area 

Producers Conference 

in San Francisco, CA. 

Pictured on the panel are 

(l-r): Count, Kimo Kaulani, 

Jay King and Billy Blass. 

LoTus

Randall Michelson 

MIXED SIGNING NOTES STORIES 

2012 LOS ANGELES MUSIC AWARDS NOMINEES: The annual 

LAMA voting party recently took over one evening at the Whisky 

A Go-Go in West Hollywood, CA. Pictured are members of Pop 

Single of the Year nominees Mozaik along with LAMA founder 

and Executive Producer Al Bowman and event co-host Dustin 

Quick. The 22nd 

Annual LA Music 

Awards red carpet 

gala is scheduled 

for Nov. 15 at the 

Avalon Theater, 

also in Hollywood. 

For updates on this 

upcoming event, 

and to take a listen 

to the nominated 

artists, see http:// 

myspace.com/ 

lamusicawards. 

AMERICANA MUSIC AWARDS EXHIBITORS SNAP 

A PHOTO: The Americana Music Associated 

Convention in Nashville, TN, recently came to a 

close. For the first time, the sold-out Honors & 

Awards program aired live nationally on AXS TV, 

broadcast via SiriusXM, WSM radio, and streamed 

by NPR.org. Pictured at the event (l-r): Dusty 

Wakeman, Mojave Audio; Shilah Morrow, Lone 

Star Music; and Raul Malo, the Mavericks. See 

http://americanamusic.org for more information. 

—ANDY MESECHER andym@musicconnection.com 

METRIC RELAXES 

BACKSTAGE AT THE 

GREEK: Making 

their Greek Theatre, 

L.A. debut on Oct. 

9, Metric were 

greeted backstage by 

Nederlander Concerts 

execs. Pictured 

(center) with the band: 

Rena Wasserman, 

Greek Theatre 

General Manager / 

VP of Operations, 

Nederlander Concerts; 

Paola Palazzo, VP of 

Talent, Nederlander 

Concerts. 

DPA MICS CARRY THE TORCH: As the Olympic Torch 

Relay made its way around the UK this summer, DPA 

Microphones provided audio to 70 evening celebrations 

as well as at the daily lighting of the cauldron ceremonies. 

Among the items on the equipment list for the 

Torch Relay were DPA d:fine Headset Microphones, 

supplied by DPA’s UK distributor, Sound Network. Artists 

in attendance included Dizzee Rascal, Labrinth, Eliza 

Doolittle, Friendly Fires, the Wanted and (pictured with 

the d:fine model) dance troupe Twist And Pulse. 

1977– 2012 

35 Years 

CELEBRATING 

ELEBRATING 

Tidbits From Our 

Tattered Past 

1985—Chaka Khan—(Issue. #4): 

Music Connection’s cover story 

on Chaka Khan, one-time "sex 

goddess of soul," caught her after 

she'd made her move from L.A. 

to N.Y.C. Asked to describe her 

life to this point, Khan quipped, 

"To hell and back in a limousine." 

Elsewhere in the issue you'll �nd 

an insider's article about the legendary 

star-studded recording 

session for the fundraising song, 

"We Are The World." Also tucked 

within the pages of this vintage 

issue of Music Connection are 

concert reviews of Los Lobos and 

legendary trumpeter Chet Baker. 

1995—John Hiatt—(Issue. #22): 

When Music Connection featured 

acclaimed artist John Hiatt 

on our Music Publishing issue's 

cover, Hiatt discussed the elusiveness 

of commercial success. 

"I don't think I work so weird that 

no one can relate to it. The fact 

that 100-plus artists have covered 

my tunes would suggest 

that maybe I have broad appeal." 

Meanwhile, in our club reviews 

area, we spotlighted gigs by Marilyn 

Manson, Clutch and 13-yearold 

axe-slinger Nathan Cavalerri. 

And check out the Songwriter 

Pro�le on Randy "I Love L.A." 

Newman and his recent all-star 

Faust musical. 


y Gary Graff 

photo by Frank Maddocks 


A Guitar Hero Emerges

Gary Clark Jr. is the musical equivalent of Midwestern weather; 

if you don’t like something, stick around for a minute and it will 

surely change. Though he was born and bred and cut his teeth in 

Austin, TX, and developed a reputation as a blues-steeped guitar 

gunslinger, the 28-year-old musician and songwriter is the product 

of a varied batch of influences––including rock, R&B, funk, jazz, 

country and hip-hop in addition to blues––that all surface on Blak 

And Blu, his major label debut. 

A church and high school choir veteran, Clark picked up guitar 

as an adolescent and was mentored by the late Austin promoter 

and club owner Clifford Antone. The rising artist became a fixture 

on the Sixth Street scene and, by 2001 was feted with a Gary Clark 

Jr. Day in Austin and, by 2010, made enough of an impact to be 

booked at Eric Clapton’s third Crossroads Guitar Festival as well as 

the following year’s Bonnaroo Music Festival. Clark was also part 

of this year’s Red, White And Blues show at the White House and 

Metallica’s Orion Festival, and he’s been tapped by Sheryl Crow and 

Alicia Keys to guest on their albums. He may be a little bruised from 

his hard-fought trip into the spotlight, but Blak And Blu sounds like it 

was well worth the effort. 

Music Connection: Blak And Blu has felt like 

a long time coming, with a lot of “preamble” 

in the form of EPs and a lot of advance press. 

You must be chomping at the bit for it to 

come out. 

Gary Clark Jr.: Yeah, I’m really ready. I’m very 

excited. I mean, this is kind of a big deal for me, 

my �rst (album) with a major label. I suppose 

there’s a little bit more pressure––and a lot of 

excitement. I’m ready to go, man. I’m ready. 

MC: You’ve been called “the next Hendrix” 

and a lot of other good stuff. How do you 

cope with those kind of plaudits, and with the 

expectations they bring? 

Clark: (laughs) I’m just...I’m aware and I’m 

soaking it up, but mostly I’m just grateful. I’m 

blessed. I’m very lucky. And I’m humbled by it. I 

just know I love playing music. It’s something I’ve 

always wanted to do, and I’m doing it. 

That puts me on the spot, though, the pressure 

thing. Like I said, I’m aware of that every day, but 

I still feel fortunate. 

MC: Do you feel like a lot of people are looking 

at you now and saying, in effect, “Prove it!” 

Clark: Yeah, probably. All I know is that this is 

what I’ve got. I am what I am, and all I can do 

is what I’m capable of and basically be me and 

try to be the best I can be at it and try not to get 

too overwhelmed. Getting myself all worked up 

doesn’t make anything easier, you know? I kind 

of go with it. It is what it is and it will be what it will 

be, and I hang on the best I can. 

MC: Blak And Blu covers a lot of stylistic 

ground, probably more than most people 

expect from a guitar hero from Austin. Where 

does that variety and diversity come from? 

Clark: Y’know, I’ve been associated with the 

blues thing, being the guitar guy, and that is a 

major part of what I do. But I was in�uenced by 

and love all sorts of music, so I write like that and 

record like that and experiment with all kinds of 

sounds. And for my �rst major label album, I just 

want to put it all out there rather than just playing 

straightahead blues or just stick to one genre 

and then bring the weird stuff out later. I thought 

I might as well introduce myself as a weirdo �rst 

and get it out of the way and see what happens. 

MC: So what do you think is the weirdest 

thing on Blak And Blu? 

Clark: The weirdest?! (laughs) I don’t know 

how to answer that, man. It’s all me; I’ll take 

full credit for it. But songs like “You Saved Me,” 

“Black and Blu,” going from something like that 

to “Next Door Neighbor Blues,” I’m just really 

excited to show the range, to put it all out there 

“I thought I might as well introduce 

myself as a weirdo first and get it out 

of the way and see what happens.” 

musically. They don’t sound like what people 

might expect, which is cool. It’s like a surprise: 

here’s something else that I’m doing! But those 

types of things have been in me a long time. I’ve 

always wanted to do them, so to just let it go is 

a big relief for me. I’ve been driving myself crazy 

with it for so long, I’m happy to put it out there 

and see what happens. 

MC: Does the breadth re�ect your upbringing? 

Did you grow up in a musical household? 

Clark: I did. My grandmother had a piano at her 

house and my aunts and uncles were always 

playing and singing. My parents played around 

with music and singers and had a wide variety 

of records––funk, soul, rock & roll, jazz. I had 

an older sister, four years older than me; I really 

looked up to her and she’d bring home the 

hottest albums of the time by R&B groups or 

rock & roll bands. I kind of soaked up all that, just 

being in the next room and hearing her blasting 

it loud and pissing me off. (laughs) So there was 

that, and then being wtih my friends and listening 

to all kinds of stuff, like hip-hop, R&B. So I was 

around [music] a lot, a lot, a lot. I was in choir at 

school. I wanted to be in the jazz band but they 

already had a drummer. Anything that made 

noise I gravitated towards. 

PHOTO BY FRANK MADDOCKS 

MC: How did you decide music was “it” for you? 

Clark: I think I was �ve when I �rst started 

being really conscious of and aware of what 

swirled around me. But what clinched it was I 

was a huge Michael Jackson fan when I was a 

young, young kid. I still am. My folks surprised 

me and my sister and my cousins and we went 

to see him in concert in 1988, on the “Bad” tour. 

I just remember him coming on stage and the 

energy and the crowd was just going crazy. I 

remember thinking that I would love to do that, 

and it was always on my mind after that. It was a 

big moment, but I was always kind of shy about 

expressing how I wanted to be a musician. All 

the other kids would say they wanted to be a 

doctor or a lawyer, but I wanted to be on stage. 

MC: What got you over the hump? 

Clark: I guess the seventh grade talent show. I 

was in this group with my buddy, Robbie, and 

we had this song called “Young Soul”; that 

was the name of our group, too. We were 11-, 

12-year-old kids; it was just me and him. And we 

sang this thing a cappella at the talent show. I 

remember I was really nervous, but after it was 

done I was like, “Wow, that felt great,” just the 

energy of expressing myself and getting some 

love back kinda changed it for me. Instead of 


eing so freaked out about it, I got a little bit 

more comfortable. 

MC: And you started playing... 

Clark: I decided on guitar the next year. My friend 

played in that talent show, too; she had a band 

and they played a rock & roll tune. I thought it 

was cool. They had live instruments––guitar, 

bass, drums––like a loud trio. She had a black 

Stratocaster and a Fender Twin, and I said, “This 

chick is awesome! I want to play guitar, too.” 

It just so happened she lived down the street 

from me, so we’d hang out and listen to rock & 

roll and blues and stuff. Then we started going to 

blues jams when we were 14, 15. That was her 

idea. I don’t know if I would’ve gotten into the 

whole blues scene if she wasn’t like, “Hey, want to 

go play in this blues jam on Sunday?” 

MC: Being in Austin had to have an impact as 

well. 

Clark: Oh, yeah, sure. When I �rst started playing 

guitar and running around in Austin, around Sixth 

Street––that’s the main hot spot for live music in 

town––I was soaking up all kinds of things. I was 

a teenager, so it was a very in�uential period. But 

my mom said something to me; she told me that 

“even when you’re with all those people running 

around crazy downtown, keep a place for Jesus. 

Keep playing in church. Keep playing gospel 

music, too.” I listened to her––most of the time. 

(laughs) That was great advice. 

MC: Do you have a natural inclination toward 

any one of the styles you play in? Like you 

said, the blues is your root. Is it challenging to 

go in the other directions? 

Clark: Actually, that stuff, for me, is a lot easier. 

That’s the kind of stuff I was in�uenced by. I was 

into Curtis May�eld stuff, Otis Redding, Motown 

and Stax type of albums and then Prince, Ready 

for the World, stuff like what was what I was 

playing when I was a kid. So those melodies, those 

sounds, were in everything I was listening to. 

I started diving into the blues when I got to be 

about 12, and I was already writing––well, not really 

writing at that age. I didn’t know what it was called; 

making noise, maybe. But the R&B and soul stuff 

kinda came �rst, so I don’t really think of it as one 

thing being easier or harder to approach than the 

other. It’s all part of my musical in�uence, a natural 

progression. I soaked everything up naturally. 

MC: The “Third Stone From The Sun” / ”If You 

Love Me Like You Say” pairing is quite epic. 

What’s the story behind that track? 

Clark: That just kind of came from jamming. I used 

to play this gig every Monday down in Austin. We 

would play from 10 to 2 in the morning, so there 

was lots of space to �ll. We’d play some sort of 

straightahead set for a while, then go on break or 

whatever and come back and go, “Now what are 

we gonna do?” “I dunno––get up there and mess 

around,” and we’d just kind of experiment and jam 

out, start off doing something in E, and we didn’t 

plan anything. 

I’m pretty good at being a horrible bandleader 

by not telling the band what I’m about to do. So 

that (song) was one of those times I just kind 

of went off; they followed me, and it turned into 

this 20-minute thing. I kept doing it with a few 

different bands over the years, and I guess it just 

developed into what you hear and what we threw 

down on the record. 

MC: How did you wind up working primarily 

with Mike Elizondo? 

Clark: His name had been around. I’d seen him 

play with Doyle Bramhall. I heard the stuff he 

did with [Dr.] Dre on the Chronic 2001 album. I 

remember his bass being some of the coolest 

lines I’d ever heard; it was funky, lowdown, had 

a good pocket, a good groove. I was talking with 

my manager Scooter [Weintraub] and said, “What 

do you think about Mike Elizondo as a producer? I 

love what he does. I would love to be in a room and 


AUSTIN GUITAR HALL OF FAME 

Five essential forebears who tread 

the same path as Gary Clark Jr.: 

• Freddie King — The recent Rock and Roll 

Hall of Fame inductee was born in Gilmer and 

stayed true to his home state even amidst 

worldwide travels that made him one of the 

most influential guitar heroes of all time. 

• Billy Gibbons — The Houston-born ZZ Top 

frontman and 2012 Texas State Musician 

honoree has been an Austin regular 

since his days in the Moving 

Sidewalks. 

• Stevie Ray Vaughan — The late 

virtuoso was already a Texas titan 

when the one-two punch of a 

major label deal and playing 

on David Bowie’s Let’s Dance 

made him a worldwide start in 

1983. 

• Jimmie Vaughan — Stevie Ray’s 

big brother established his name 

with the Fabulous Thunderdbirds 

and has released a series of 

solid albums since going 

solo in 1994. 

• Doyle Bramhall II — 

The southpaw guitarist 

followed his drummer 

father’s footsteps into 

the music business, 

with three albums of 

his own plus 

tenures with Arc 

Angels, and with 

Roger Waters’ 

and Eric Clapton’s 

bands. 

experiment with him for a bit.” So I walked into the 

studio and we started talking immediately about 

sounds and different artists we liked and that we 

had in common. I was like, “Yeah, let’s do this.” 

MC: What was it he brought to the party? 

Clark: He brought a lot of things out of me. He 

had some great ideas from drum sounds and 

guitar sounds, arrangements, things like that, 

which is something I hadn’t put a whole lot of time 

into before. I’d just kind of been going in and one 

song might be eight minutes or whatever; he’d 

spark a �ame, like “Let’s do this here and see 

how this goes”––really cool ideas without being 

overbearing or like, “This is the way it should be” 

kind of thing, which is cool. He allowed me to open 

up rather than be disinterested which is how I’ve 

been before. It was easier to let go with him. It was 

fun, a really laidback, chill environment to make 

music in. It was perfect. 

MC: Blak And Blu is just out, of course, but 

are you thinking at all about what you want 

to do next? 

PHOTO BY JODY DOMINGUE STUDIOS 

Clark: I’m not sure at this point. I de�nitely do 

have some ideas for what I want to do. I’d like to 

do a little more reaching out to folks and getting 

together with other people and putting our heads 

together. This album is pretty much all my stuff, 

so I’d like to collaborate with some folks after 

that. 

MC: You’ve done some interesting collaborations 

already. What was it like working with 

Alicia Keys? 

Clark: I recorded on a couple of tracks for her 

album [Girl On Fire]. Basically I just got called 

to go in there and play some rhythm guitar stuff, 

then she wanted me to come in and play some 

lead stuff and open it up. She’d play a track and 

say, “Let’s do you.” It was really cool. I’ve been a 

fan of the stuff she does for a long time and she 

really let me do what I do. Hopefully I can have 

some more experiences like that. 

Contact Rick Gershon, 

rick.gershon@wbr.com

MOVING DIGITAL MUSIC FORWARD 

SoundExchange is the premier digital performance rights 

organization in the world, with a mission to support, protect 

and propel the music industry forward. 

BECOME A MEMBER TO RECEIVE YOUR DIGITAL PERFORMANCE ROYALTIES IN THE U.S. AND ABROAD. 

Visit http://sndx.co/unregisteredlist to see 

if you have royalties at SoundExchange. 


If You Write Verses and Choruses, Songwriting Conferences 

are the Bridges to Career-Making Connections 


by Dan Kimpel

S 

ongwriters can often 

be solitary creatures: 

ensconced in 

hunched behind keyboards, poring 

S 

ongwriters can often be 

solitary creatures: ensconced 

in claustrophobic rooms, 

claustrophobic rooms, hunched 

over laptops. But consider this 

behind keyboards, poring over 

irrefutable fact of songwriting in 

laptops. the present But tense: consider collectives this of 

irrefutable songwriters fact whose of songwriting names read in 

the like present law firms tense: write the collectives majority of 

songwriters of hit songs. whose What this names signifies read 

like for songwriters law firms write is that the alliances majority 

of within hit songs. the music What business–– this signifies 

for with songwriters artists, producers is that and alliances 

within potential the collaborators––are 

music business–– 

with 

essential 

artists, 

building 

producers 

blocks 

and 

for any 

songwriter’s career. 

potential collaborators––are 

essential building blocks for any 

songwriter’s Sure, you can career. network on the 

Web, read message boards and 

collaborate with others long 

distance, Sure, you but can there network is no better on the 

Web, opportunity read message to make an boards impact and 

collaborate on other songwriters with others than long face to 

distance, face at a conference. but there is The no trick better is 

opportunity to zero in on to the make conferences an impact that 

on 

are 

other 

geared 

songwriters 

to what you 

than 

want to 

accomplish. 

face to face at a conference. 

The trick is to zero in on the 

conferences that are geared to 

what you want to accomplish. 

A Bit of an Overview… 

The very �rst Songwriters Expo––envisioned 

by John Braheny and Len Chandler, cofounders/directors 

of the Los Angeles 

Songwriters Showcase (LASS)––was held 

in 1977 and continued for over two decades. 

Since then, many replications and variations 

on the theme of educating and connecting 

songwriters via multi-day events have sprung 

up, based on the original LASS concept. 

Bigger is not necessarily better: some of the 

smaller conferences afford intimate personal 

contact with the industry guests and with the 

other visiting songwriters. 

For readers who reside in the music capitals 

of Los Angeles, Nashville, New York and 

Atlanta, conferences also present a welcome 

opportunity to bond with other attendees when 

you meet them in the airport, on the plane and 

the hotel shuttles. 

Conferences are an investment. Funds are 

required for transportation, admission, hotel 

rooms and incidentals. These can add up 

quickly, so researching events, talking to people 

who have attended in order to �nd the event 

that best matches your music, and planning a 

trip in advance to take advantage of early-bird 

admission specials are recommended steps. 

If you can attend more than one event, this is 

advantageous. 

If you have to choose a conference, choose 

it wisely. You will also need to manage your 

expectations. Conferences are about opening 

doors to the future. And while you might not 

leave with a publishing or sync deal, you might 

be one step closer. In this exclusive feature, 

MC will spotlight, de�ne and describe, in 

alphabetical order, some key career-making 

confabs that can educate, connect and inspire 

songwriters. 

ASCAP “I Create Music” EXPO 

Carly Simon, the Smeezingtons (Bruno 

Mars, Philip Lawrence, Ari Levine), Lindsey 

Buckingham, Quincy Jones, a conversation 

between Justin Timberlake and Bill Withers, 

John Mayer, Ann & Nancy Wilson (Heart), 

Jeff Lynne, Jon Bon Jovi & Richie Sambora, 

Jackson Browne, Steve Miller, Randy Newman 

and Tom Petty: The ASCAP “I Create Music” 

Expo is the most expansive and comprehensive 

of the songwriter conferences. 

If you aim to attend, be aware that by 

planning you will save substantially on 

the admission fee. If you are arriving from 

out of town, staying at the Loews Hotel at 

Hollywood and Highland, where the event is 

held, will afford you maximum participation. 

Teaming up in rooms with visiting friends and 

new acquaintances can make for some fun 

networking opportunities. 

With the riches of panels, listening sessions, 

one-on-ones and workshops, pre-conference 

research is essential in order to maximize a visit 

and tailor-make it to speci�c needs. Without a 

plan, this experience could be overwhelming. 

You will be in the heart of Hollywood, and as 

such, there is much to experience. The EXPO 

is also excellent for connecting with music 

supervisors and �nding out about the latest 

trends in the business for those creating music 

for �lm, television and games. 

The EXPO is held the same week of 

the ASCAP Pop Awards, so the odds are 

excellent that the most distinguished names 

in the Society’s roster will be on hand for the 

conference. 

There are 500 One-on-One Sessions made 

available, with an additional $30 processing 

fee. They are available on a �rst-come, �rstserved 

basis and every year they have sold out. 

The next EXPO is April 18 - 20, 2013 in Los 

Angeles, CA. Registration begins Nov. 1st. 

http://ascap.com/eventsawards/events/expo 

Durango Songwriters Expo 

With two events held annually––one in the 

mountains of Colorado in the fall, most recently 

just outside of Boulder, and a February event 

in Santa Barbara, CA, Wine Country––The 

Durango Songwriter Expos certainly qualify as 

two of the most scenic songwriter celebrations. 

The picture is even better inside the events, 

as a gracious community welcomes longtime 

participants and newcomers alike. 

There is a distinct advantage to the more 

intimate scale. Both of the Durango events limit 

the number of participants, and if you’ve got the 

goods you will be noticed. This is a very social 

event (especially as wine corks pop in the 

fabled Santa Ynez Wine Country) and enduring 

alliances have been formed as a result. 

The hotel halls breathe with music as cowriters 

conspire in suites, rooms and stairwells. 

There is no shortage of artists such as Mindy 

Smith; Shawn Mullins; and Michelle Shocked 

on hand, and serious songwriters: Dan Wilson 

(Adele); Jeffrey Steele (Rascal Flatts, Faith 

Hill, Tim McGraw); Big Al Anderson (George 

Strait, LeAnn Rimes); J.D. Souther (the Eagles); 

Chuck Cannon (Toby Keith); and many others 

who create the hits for major artists. 

The listening sessions are intimate and real 

as publishers, music supervisors, label reps 

and many others spend quality time with the 

songwriters, giving feedback and suggestions. 

As be�ts the Expo’s congeniality, it is a 

supportive and nurturing environment. 

There is also a looseness to the event that 

can seem laidback and spontaneous. The 

evening concerts featuring the hit songwriters 

are revelatory––especially for fans of solid nuts 

and bolts song craft. The partying opportunities 

are plentiful. 

DSE also sponsors a Write With A Hit- 

Maker Songwriting Contest, where the winner 

collaborates on a song with a prominent hit 

songwriter. 

The Santa Barbara Wine Country event is 

scheduled for Feb. 28 - Mar. 2, 2013. 

http://durango-songwriters-expo.com 

The Kauai Music Festival 

Blessed by breezes from the Paci�c Ocean 

at a Hawaiian beachfront luxury resort, 

The Kauai Music Festival (KMF) songwriter 

conference is a four-day celebration of the 

art and craft of songwriting. Industry guests 

convene with attendees for one-on-one 

meetings, con�gure small group sessions, 

conduct workshops and participate in panel 

discussions. Each night features performances 

and open mic activities. Industry guests 

include Grammy, Emmy and Na Hokuwinning 

songwriters, a contingent 

of producers, TV & �lm music 

supervisors from Hollywood and top 

A&R executives from Nashville, New 

York and Los Angeles including Music 


Supervisor Liza Richardson (Hawaii Five-0, 

Parenthood, Friday Night Lights). 

The attendees range from Music City hit 

writers to musical creators from the other 

islands––hobbyists and beginners will not be 

out of place. 

For fans of Hawaiian music, the Saturday 

night Pua Hana concert is a singular opportunity 

to absorb the breadth of modern island music: 

from ukulele sensation Jake Shimabukoro 

to HAPA and Charles Michael Brotman. The 

preceding night, Friday, Mainland hit writers 

and performers share the stage at the Poalima 

Concert. (Concert tickets are an additional $25 

fee per show or $40 for both concerts.) 

In addition to the Festival’s Gold Sponsor 

County of Kauai and the Hawaii Tourism 

Authority, this confab is generously supported 

by BMI, and past participants have included 

hit songwriters from that Performing 

Right Organization’s ranks including Kris 

Kristofferson, Kara DioGuardi (Christina 

Aguilera, Carrie Underwood, Cobra Starship), 

Bonnie McKee (Katy Perry, Taio Cruz, Leona 

Lewis); and Evan Bogart (Beyonce, Jason 

Derulo, Jennifer Lopez). Hit songwriter, author 

and songwriting sage Jason Blume is also a 

regular guest. 

Flip-�ops, cut-off shorts and sunscreen––you 

won’t feel underdressed on casual Kauii. The 

schedule of the event allows for plentiful networking 

and sightseeing opportunities on the Garden 

Island. Evenings are �lled with well-orchestrated 

open mics that �ow deep into the night. 

At past events, the Kaui Music Festival 

has been opened with a blessing chant from 

a Hawaiian holy woman. KMF is paradise for 

songwriters and a breathtaking destination of 

unparalleled beauty. The event is scheduled 

for July 10 -13, 2013. For BMI’s recap of 

2011’s festival, see http://bmi.com/events/ 

entry/556566. 

http://kauaimusicfestival.weebly.com 

NSAI Tin Pan South/Spring 

Training 

NSAI’s annual Tin Pan South Songwriters 

Festival, taking place in the incomparable song 

town that is Nashville, TN, presents the greatest 

songwriters in modern music in intimate 

performances at a variety of venues. Last year’s 

event kicked off with John Oates of Hall & 

Oates performing an acoustic version of “She’s 

Gone.” The educational element to the week is 

the two-day “Spring Training.” 

Spring Training has an appealingly casual 

vibe: “Lunch with the Pros” features a roster 

of Nashville hit makers sans panels or formal 

lectures: just folks sitting down and eating 

together. ole Music Publishing presented hit 

writer Chris Wallin and Marty Dodson in a 

session titled “Hitsville” where an attendee left 

the session with a single song contract offered 

by the company. 

Indie artists are a focus of the information, 

and Publisher Break-out Sessions afford a oneon-one 

meeting with a publisher of choice and 

a guaranteed opportunity to play one song with 

the possibility of multiples should time afford. 

The event is held at the Maxwell Millennium 

House hotel, situated on the banks of the 

picturesque Cumberland River. It’s a short 

drive to Music Row, downtown, and other areas 

(including the hipster hotbed of East Nashville,) 

so you might need to rent a car, although the 

hotel does have a shuttle service. 

NSAI is Nashville Songwriters Association 


International, and its not just for country writers 

exclusively, but the nightly shows are primarily 

Americana, roots and country of any and all 

varieties with artists like Josh Turner, Radney 

Foster, Dierks Bentley and Jim Lauderdale 

performing with the intimate song circles 

featuring luminaries like Greg Barnhill, Jimmy 

Webb and Jack Tempchin. 

Tin Pan South is scheduled April 2 - 6, 2013, 

with Spring Training on April 5 and 6th. 

NSAI also presents Song Camp, in 

late July, with close to 100 participants 

gathering in Nashville for 

educational lectures, intense 

song critiques and performances. 

http://tinpansouth.com 

SESAC Bootcamp 

At a price point of “Free” for 

SESAC affiliates and a mere 

$40 for non-affiliates (and this 

includes breakfast and lunch!) 

the one-day SESAC Bootcamp, 

held at the Skirball Cultural 

Center in Los Angeles, CA, is 

certainly the least expensive of 

the conferences. But its value is tremendous. It 

happens in the summer, when participants can 

enjoy a full day symposium devoted to offering 

information on all aspects of the music industry 

to artists, songwriters and producers. 

Digital guru and music industry tastemaker 

Ted Cohen was one of the forward thinking 

guests at this past year’s event. Managers, 

publicists and indie artists offered insights 

on what it takes to build a career in the new 

business model, using time-tested strategies 

and new technology. 

SESAC’s roster of songwriters and artists 

includes Mumford & Sons, Bob Dylan and 

Neil Diamond. The Society also reps many 

of Hollywood’s most eminent composers and 

songwriters for �lm and television, so there 

is emphasis in this direction plus music for 

advertising and games. 

With writer-producers like Bryan Michael 

Cox (Mariah Carey, Chris Brown, Mary J. Blige) 

and Angela Hunte (“Empire State of Mind” by 

Jay-Z and Alicia Keyes) on the roster, SESAC 

is the organization of choice for eminent R&B 

songwriters. The Bootcamp is host to creators 

of urban music, so writers and artists working in 

hip-hop and R&B will be in excellent company. 

The Skirball Cutural Center is a gorgeous 

setting, and that free lunch (while tasty) is 

also a prime opportunity to connect with other 

writers and industry members at this friendly, 

low-key event. 

http://sesac.com 

TAXI Road Rally 

A prime bene�t of the independent A&R 

organization, TAXI, is free admission for the 

member plus a guest to attend the company’s 

annual Road Rally in Los Angeles, CA. This 

year the Rally will be held Nov. 8 - 11 with 

hit songwriter Diane Warren receiving the 

TAXI Lifetime Achievement Award with a 

corresponding keynote interview. 

The Road Rally is immense, and is an event 

that requires tactical pre-planning as TAXI takes 

over the Westin Los Angeles Airport Hotel. 

Songwriters and music industry professionals of 

all stripes throng the ballrooms, classrooms and 

exhibition hall for a serious selection of heavy 

hitting guests and invaluable music industry 

information. 

Numerous listening sessions are a key 

draw. Last year a group of execs from Disney, 

Universal, RCA Records and Sony Music were 

on hand for a Listening Panel. 

New media, fan management and public 

relations for independent artists are key 

Road Rally panel and class topics. Be�tting a

Independent music conferences and festivals held across North America 

often have songwriting components. Here are some standouts: 

Canadian Music Week, 

coming March 20 - 24, 

2013 in Toronto, will have a 

Songwriters and Publishers Summit 

in addition to the performances, 

panels, classes roundtables. It is 

an extraordinary event with over 

800 Canadian bands and artists 

performing live, and it attracts 

participants from all over the world. 

http://cme.net 

The Key West Songwriters 

Festival is a prime destination 

for songwriters and fans of 

songwriters alike. Since 1997, BMI has been 

a charter sponsor of the festival and the Society 

has helped it grow into both a tourist attraction and 

favorite of island locals. The festival revolves around 

five days and nights of more than 20 free shows, 

staged at an array of the island’s most popular drinking 

holes and hot spots. The event is scheduled for May 

1 - 5, 2013. 

http://keywestsongwritersfestival.com 

conference held in the entertainment capital 

of the world, great attention is paid to �lm and 

television music, and how to write and create 

for games. 

TAXI is heavy on the one-on-one mentoring 

sessions and the always-boisterous Mentor 

Lunches (where participants are joined at 

10-minute intervals by a roving band of music 

industry professionals), plus open mics and 

other performance opportunities. 

A large contingent of TAXI’s international 

songwriters are also on hand, so you can 

create cross-cultural collaborations. Hobby 

and beginning songwriters are welcome. The 

airport is not near the center of Los Angeles, so 

plan on staying at the host hotel (or check out 

cheaper options nearby) and rent a car and stay 

extra days to take advantage of the trip. 

http://taxi.com 

West Coast Songwriters 

Conference 

Held in early September on the campus of 

Los Altos College near Palo Alto, in Northern 

California, the West Coast Songwriters 

Conference is the longest running event—32 

years—speci�cally for songwriters. WCS is 

a powerhouse organization with a dedicated 

community and grassroots organizers. They 

currently hold over 20 monthly events to 

enhance aspiring writers and performers with 

creative and career development by music 

industry professional. 

The Conference is the organization’s 

highlight of the year. It kicks off with a Friday 

night party, and then takes place over two days 

with classes, panels, one-on-ones, performance 

evaluations, song screenings, a noontime 

concert series, a Saturday evening show with 

hit songwriters, and much more. 

Given its proximity to Los Angeles, the 

Season Of Song, held in 

September in Vail, CO, 

recently presented three 

days and nights of music, 

networking, keynote addresses and hit songwriter 

Q&As with writers and artists like David Wilcox and 

Beth Nielsen-Chapman, plus Jimmy Webb (“Wichita 

Lineman,” “MacArthur Park”) and Jeff Silbar (“Wind 

Beneath My Wings”). Season Of Song had over 20 

songwriters performing nightly in over 12 of Vail’s best 

music venues. 

http://seasonofsong.com 

Another promising event is the Smokin’ Hot 

Songwriters Seminar, a three-day summit that features 

hit writers like Alex Harvey (“Delta Dawn”). Open mics, 

panels and a morning “Come to Jesus” meeting are 

highlights. The event is held in Monteagle, TN. Located 

near Nashville. http://smokinhotsongwriters.com 

Songwriters seeking an intensive multi-day experience, 

plus a beautiful destination, are encouraged to 

investigate SummerSongs Songwriting Camps. 

http://summersongs.com 

WinterSongs East will convene in Olive Bridge, NY, Feb. 

15 - 18, 2013, with a summer event in Cambria, CA, 

June 6 - 10, 2013, and Ashokan, NY, Aug. 2 - 8th. http:// 

acousticguitarcommunity.com/events/ 

wintersongs-east 

Farther afield, the Listening Room International 

Songwriter Retreats offer opportunities to travel to 

Denmark, Faroe Islands, Ireland and, in January, to 

Northern California. 

http://facebook.com/listeningroomretreats 

The LGBT Music Fest Nashville will debut at venues 

in the vicinity of Demonbreun and Division streets, Feb. 

1 - 3, 2013. The multi-genre, multi-stage, weekend-long 

event will feature educational seminars on recording, 

publishing, song plugging, promotions and more, in 

addition to parties and performances for and from more 

than 400 artists, patrons and volunteers in the lesbian, 

gay, bisexual and transgender communities. Register to 

attend, volunteer or perform at http://lgbtmusicfest.org. 

General admission armbands are $20 - $50 and festival 

badges are $125 - $300. 

http://lgbtmusicfest.org/partners.htm 

Also in Nashville, the Americana Music Festival brings 

together legendary artists, the next generation of rising 

stars and industry professionals for four days of music 

and education. The event will take place Sept. 18 - 22, 

2013, gathering thousands of artists, fans and industry 

professionals from all over the world in Nashville, TN. 

http://americanamusic.org 

Conference attracts music supervisors, 

publishers and songwriters from Southern 

California. Also present are songwriters and 

industry from Northern California––for example, 

attorney Elliot Cahn, who has managed both 

Green Day and Papa Roach. Steven Memel’s 

performance workshops are consistently 

rewarding, and new media is well represented 

with panels and workshops on social and new 

media. 

Hobby, older and beginning songwriters will 

feel very welcome in this warm community. Also, 

writers whose songs vary from the mainstream 

won’t be marginalized here in ever-so-tolerant 

NorCal. There are panels on children’s 

music (courtesy of WCS co-founders and hit 

songwriters Michael and Patty Silversher) and 

songs with social signi�cance. There is a also a 

strong Nashville contingent, and regular guests 

include publisher Dan Hodges, who has a long 

history of discovering hit songwriters, such as 

Josh Kear and Chris Tomkins. 

http://westcoastsongwriters.org 


EXPERT ADVICE 

Write Songs 

with Your 

Bandmates! 

any of the greatest songs have been written when two or 

more artists collaborate. How does such a collaboration 

happen? What occurs at a fruitful songwriting session? And 

what can happen afterward? There’s more to it than meets the eye 

and ear. For all the ins and outs about collaboration––particularly 

among bandmates––check out what multi-instrumentalist songwriter, 

performer, journalist and educator Robbie Gennet has to 

tell you. 

First, discuss money. This is the one topic that most often disrupts 

the creative process (besides girl-/boyfriends) and it is often the hardest to 

discuss. However, if you can come to an agreement that suits everybody in 

the band, you’ve set a foundation for creatively moving forward. Difficulties 

often come when there is a principal songwriter in the band, leaving any 

non-songwriting members wondering what they’ll earn if any of the songs 

become hits. Which leads to tip number two: 

Discuss publishing. How do you split up the pie before it exists? We 

all know of band members who played or sang on Top 10 hits but don’t 

see any of the publishing income. So be aware 

that money discussions go hand in hand with 

the publishing conversation. There are many 

scenarios that bands implement, sometimes 

for better or worse. Much depends on who is 

writing the songs and how much they agree to 

split with their bandmates. There is no “normal” 

to describe a publishing agreement. But if you 

happen to have a great songwriter in the band, 

don’t look a gift horse in the mouth. Every band 

is one single away from infamy these days. 

Know your band’s strengths. Do you 

have an amazing singer or great drummer? 

The standouts in your band can play a role in 

the kind of songs that you write. If you have a 

badass vocalist, write songs that showcases 

his/her voice. Got a great drummer? Unleash 

him and write off of his beats and grooves. 

Lest you think that’s gratuitous, bands like 

Rush, Tool and Dave Matthews Band all 

made it huge with unconventional drummers. 

Most importantly, �gure out who your best 

songwriter is and put him to work. And if you 

are the main songwriter in a band, here’s a piece of advice: 

Co-write. You may be a great solitary songwriter, and that’s fantastic for 

both you and the group. By all means, bring every great song you’ve got 

to your band. But if it’s all about your songs, the other members might feel 

that the band is really only about you. The easy way to assuage possible 

tensions is to co-write with each and every band member. Do group writing 

sessions. Base song ideas off of a drum groove, a bass riff, a keyboard 

hook, someone’s catch phrase, whatever. Whether or not you write a hit, 

you will build camaraderie and respect, which is so important in a band 

setting. You never know where that hit song is going to come from! 

Co-listen. Jam with your bandmates and listen to one another. Don’t get 

in your bubble-world onstage and zone out. While you’re playing, look over 

at each bandmate and connect. Consciously engage and push the groove 

toward new places. Jamming together is the most organic form of co-writing 

and often times the random jams will yield some amazing parts to write 

songs with. Hone your craft and let the music speak for itself. 

Decide on your sound. Every band has in�uences, some stronger than 

others. Alice in Chains in�uenced a whole bunch of bands in their wake, 


“If it’s all about 

your songs, the 

other members 

might feel that 

the band is really 

only about you.” 

By Robbie Gennet 

but without Black Sabbath, Alice in Chains might not have existed as such. 

What you “sound like” can come from a diverse range of sources, including 

certain instruments. Imagine the Doors without Ray Manzarek’s Vox organ 

and Rhodes piano. No matter what your sound is, make sure you are not 

cloning someone else. It’s one thing to be in�uenced by a band or performer. 

It’s another thing to try to sound exactly like them. If you push yourself to 

grow, however, you’ll never stagnate long enough to be just one thing. 

Take lessons. The best songwriters and musicians never stop learning, 

and many take lessons from a variety of teachers throughout their careers. 

In most bands, the singer either sells it or sinks it, so vocal lessons are a 

must. Having the “cool frontman look” is great, but blowing audiences away 

with your vocals is way better. Drummers are the foundation of the band 

and a mediocre drummer can undermine the music. Bassists, guitarists, 

keyboard players, all will bene�t––and will be able to contribute more to 

your band’s collaborations––by keeping up their abilities and increasing 

their knowledge base. What each individual brings to the band collaboration 

makes a stronger collective whole. That goes for harmony vocals too. 

Vocalize. Why practice the hell out of your instruments and leave the 

harmony vocals to chance? Big mistake. Figure out who your singers are 

in the band and put them to work. Song ideas 

may develop from that. If someone is not a 

singer but can manage some group choruses 

or shouts, put them in the mix but know their 

limits. Everyone in the band can be a better 

singer than they are today. Vocal lessons help 

tremendously, but a band should sing with one 

another on a regular basis. Having your vocal 

chops together for the live show will make 

your songs sound that much better live. Why 

underperform a great song in your repertoire? 

Or any song, for that matter? 

Study songwriting. It’s one thing to know 

who your favorite bands or instrumentalists 

are, but who do you admire as a songwriter? 

What songs move you so much that you listen 

to them or play them hundreds of times? 

Examining songwriters will help immeasurably 

in your own songwriting progress. Lyrics are 

a craft unto themselves, as are melodies and 

chord progressions. Familiarizing yourself 

with an ever-widening variety of chords and 

changes will give depth to your songwriting. 

As you absorb new ideas, your songwriting will evolve. There’s plenty of 

info available from insightful people who excel at examining what makes a 

song really click. Find those people and soak up everything they can offer. 

Set goals, be proactive. You have to dream big to get big; it takes 

hard work and planning to make something happen with your music. By 

setting both short- and long-term goals, a band can work with focus and 

organization to achieve the kind of results that matter: great songs and 

recordings, great live shows and great pictures and videos too. Everyone 

in the band should have tasks and be accountable for some of the action. 

Everyone should be expected to bring something to the collaboration. No 

freeloaders without skin in the game, unless you want resentments to build 

by those handling most of the work. If you are in a band, you are running a 

professional business, so act like it! To be the best, you must do your best. 

miniBio: Robbie Gennet is a multi-instrumentalist, songwriter, performer, 

journalist and educator living in Los Angeles, CA. His book/DVD, The Key 

of One, provides a notation-free approach to understanding music and a 

great foundation for your musical evolution. Find it at http://thekeyofone. 

com and at all major music retailers. Gennet can also be found at http:// 

robbiegennet.com and http://facebook.com/robbiemusic.

6th annual 

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PRESENTED AT THE 

22nd annual 

Los Angeles 

NOVEMBER 15, 2012 

AVALON HOLLYWOOD 

1735 Vine Street 

Hollywood, CA 90028 

TICKETS: LAMUSICAWARDS.COM 

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Documentary.: "Can You See The Real Me?" 

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INDUSTRY PROFILE 


By Albert Vega 

“Audio fingerprinting” Scours for Unpaid Royalties 

Launched in 2009 by co-founders, CEO Scott Schreer and COO Chris as Woods points out, television has only gotten bigger since then and the 

Woods, TuneSat is an audio monitoring service designed to detect uses data did not even include Internet uses. 

of musical works across the television and Internet spectrum. In its few Currently, TuneSat is monitoring television in 13 European countries 

years of existence, the company has lined up clients as notable as Universal (in addition to the US) and launched its Internet monitoring service earlier 

Music Publishing Group and Sony Entertainment because of its ability to this year. “Our area of expertise is music on television performances, but 

locate and track unauthorized performances, which in turn, can lead to the we’ve learned a lot over the past decade about performances outside of TV. 

collection of unpaid royalties. 

Basically, what we’re doing is crawling the Internet looking for multimedia 

And it isn’t only major publishers enlisting the assistance of the New York- �les embedded, or made available, on websites. We’re not listening to 

based company. TuneSat’s client list runs the gamut, from independent streams, such as something on Pandora, but actual �les.” Examples of what 

recording artists and legacy acts to record labels, attorneys and managers. TuneSat detects are instances such as a blogger posting a client’s music, 

As Woods puts it, “[Our client list] is anybody with an interest in the revenue or a video or podcast using a client’s music. Not only does TuneSat report 

stream of a master recording.” 

the use, but it also provides a date of when the work was used, the duration 

Traditionally, the duty of tracking musical performances on television and of the performance, the URL where the link was found and the content URL 

online, in order to collect rights royalties, is the job of Performance Rights where the content actually exists. “We also let our clients know where the 

Organizations, such as ASCAP and BMI. PROs detect a musical use and use can be found within the �le. So think of a podcast that could be an hour 

then go about collecting royalties on behalf of the songwriters and publishers long. We tell our clients exactly where in the podcast the use is located.” 

they represent. The problem, as 

And while Woods emphasizes 

Woods sees it, is in the process used 

that TuneSat is not a collection 

to track performances. “The issue 

agency, it has also launched an Ad- 

that everybody knows about,” says “Tracking down when and where ministrative Services Department 

Woods, “is that PROs use a manual 

designed to help music rights hol- 

process. It’s literally pen and paper, your music is being used, and getting ders take further action should they 

and this causes a lot of inaccuracies 

decide to. “Administrative services 

in what’s reported to those societies paid for those uses, is a full-time job will be a big help to those who don’t 

and rather large discrepancies in the 

have the time or the resources to 

royalty distributions.” in itself. TuneSat is there to support maximize their revenue stream with 

TuneSat’s solution is a develop- 

the TuneSat data.” Woods adds, 

ment known as “audio �ngerprinting,” the music community by making this “Tracking down when and where 

whereby TuneSat’s technology anal- 

your music is being used, and get- 

yzes the distinct characteristics of task easier through near real-time ting paid for those uses, is a full- 

a music �le and scours broadcast 

time job in itself. TuneSat is there 

television content and Internet �les detection data, providing the where to support the music community by 

looking for a match. It also has 

making this task easier through near 

the capability of detecting musical and when automatically.” 

real-time detection data, providing 

matches if the content is buried 

the where and when automatically. 

underneath other audio such as —Chris Woods 

Our mission is to provide a simple 

crowd noise, sound effects or even 

and transparent solution, enabling 

other music (such as a sample). 

[our clients] to get the money they deserve.” 

Woods was introduced to �ngerprinting technology by Schreer, shortly As for the cost of working with TuneSat currently, the quoted rate is as 

after becoming a songwriting team in the early 2000s. In the interest of little as $10 for 10 tracks. There is a one-time setup fee, then a monthly rate 

testing the technology and con�rming what they suspected were royalties depending on what countries are being monitored and the amount of tracks 

discrepancies, Schreer and Woods conducted case studies with their catalog being monitored. Clients with less than 10,000 tracks can subscribe and 

as publishers and writers over a two-and-a-half year period. After comparing upload �les online, while clients with larger catalogs can contact TuneSat 

their data to the royalty statements they received, Woods concluded, “We directly for account setup. 

found that as much as 80 percent of music on television goes unreported. For those interested, go to http://tunesat.com and be sure to read its 

We always knew it was quite large, but we didn’t know it was that big.” And thorough FAQs page.

Master and Synch licensing available 

through Old Pants Publishing, Inc. 

Contact Robert Case for details: 

719-632-0227 E-mail: rac@crlr.net 

To purchase Freedom Stride go to: 

http://cdbaby.com/cd/rockyshaw2 


September 2012 www.musicconnection.com 31

CD REVIEWS 

In order 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. 

Gary Clark Jr. 

Blak And Blu 

Warner Bros. Records 

Producer: Various 

ijklmnopqrs 

Nomad Carlos 

Me Against The Grain 

Natural High Muzik 


ijklmnopqrs 

Sean Paul 

Tomahawk Technique 

Atlantic Records 


ijklmnopqrs 

Muse 

The 2nd Law 

Warner Bros. Records 

Producer: Muse 

ijklmnopqrs 


Amidst the massive hype, success 

and accolades over the last few years, 

Gary Clark Jr.’s �rst full-length record 

is �nally here. Clark has one foot in 

the present and one in the past as 

he skillfully mines dirty blues, ‘60s 

psychedelia, R&B, rock and hip-hop. 

The Hendrix style garage fuzz of 

“Numb” segues nicely into the classic 

R&B falsetto of “Please Come Home,” 

while the neo soul of “Blak And Blu” 

dovetails into the urban grit of “Bright 

Lights.” Clark writes a catchy hook on 

the pop/R&B of “Ain’t Messin’ Around” 

that rounds out a fresh, uncontrived 

commercial record, one that draws 

from the best in African American music, 

past and present. 

——Oscar Jordan 

Born in Miami—but straight outta Kingston, 

Jamaica—Nomad Carlos isn’t 

trying to be the next Elephant Man or 

Bob Marley (though, he’s got a clip of 

the Nesta kicking off the proceedings). 

He’s not getting slack with bumbaclot’s 

nor is he talking about ganja as religion; 

but he’s keeping it real as a rapper 

steeped in roots and in�uenced by ‘90s 

Stateside hip-hop (particularly Nas 

and Mobb Deep). Nomad can come 

on strong like on “Track Killaz” (“cokedout 

and depressed, like Whitney” too 

soon?), or gangster on “Fuck You.” 

Sure, a cut like “Murder Music” covers 

the volatility of the Kingston streets, but 

“Make It Work” reveals a softer side, 

trying to repair a relationship to a Tuff 

Gong sound. ——Daniel Siwek 

As the album title and warrior artwork 

implies, the Jamaican dancehall artist 

follows his Grammy nominated 2009 

set Imperial Blaze with an aggressive 

push into the realm of infectious pop 

via fresh and new collaborations with 

a batch of hit producers: StarGate, 

Rico Love and Benny Blanco. Despite 

the extra production glitz, Paul’s trademark 

mix of monotone, rap-sing power 

vocals and electronic reggae grooves 

stand out to form the emotional core of 

the constantly in-�ow set. Highlights include 

“Got 2 Love You,” a co-write with, 

among others, Ryan Tedder, featuring 

Alexis Jordan, and “How Deep Is Your 

Love,” whose hypnotic chorus is a spirited 

conversation between Paul and 

Kelly Rowland. ——Jonathan Widran 

Muse bring together the sounds of 

Queen, Zeppelin, Guns N’ Roses 

and even Faith No More… and guess 

what? It’s fucking awesome. “Supremecy” 

kicks the concept off with a post-war 

montage vibe before transitioning to a 

jam James Bond would rock in his Q-altered 

iPod. “Survival,” the 2012 London 

Olympics anthem, shows their appreciation 

for Freddie Mercury while “Big 

Freeze” reminds us of Tommy. Muse 

didn’t invent dubstep, but they sure as 

hell make it accessible in “Follow Me” — 

and more aggressively on “Unsustainable.” 

Bassist Chris Wolstenholme got 

a crack at songwriting on “Save Me” 

and “Liquid State” and, while well-written, 

feels like it should have been a side 

project. 

——Andy Mesecher 

They say write about what you know. 

Perhaps the corollary to that weary 

maxim is this—sing about what you’ve 

been through. On Cedar + Gold, Prettyman 

takes her shattered engagement 

to fellow singer Jason Mraz and uses it 

as grist for the emotional payback mill. 

One can’t deny the power inherent in 

the California surfer girl’s plainspoken, 

confessional lyrics, the brutally honest 

tales showcasing her affable personality 

with every breath. The album’s overall 

pop sheen maintains a fragile subtlety 

that most won’t appreciate, but those 

Tristan Prettyman who �nd resonance in the ex-model’s 

Cedar + Gold 

tale of woe and redemption will uncover 

Capitol Records a subtle majesty that only materializes 

Producer: Greg Wells after seriously meditative, introspective 

ijklmnopqrs listens. 

——Andy Kaufmann 

Melody Gardot 

The Absence 

Verve Records 

Producer: Heitor Pereira 

ijklmnopqrs 

Prince Rama 

Top Ten Hits of the End of the World 

Paw Tracks 


ijklmnopqrs 

Sweetheart 

XOXOX 

Sweetheart Records 

Producer: Don McLeod 

ijklmnopqrs 

She’s been compared to Joni Mitchell, but 

I can’t recall Mitchell being as unabashedly 

sensual as Melody Gardot is on 

her third LP. At 27, the NJ-native writes 

with the wisdom of an old soul; she 

plays jazz guitar and piano; she croons 

in multi-octaves, in English, French and 

Portuguese; she purrs, she growls, she 

makes up sounds you’ve never heard, 

but now can’t live without. Gardot has 

said that she wants her song, “Mira,” to 

have all the kids in Brazil dancing, but why 

should they have all the fun? This is world 

music for everyone. Heitor Pereira, a busy 

Tinseltown composer and ex-Simply Red 

guitarist, produced this LP and when their 

voices blend together on “Se Vôce Me 

Ama,” well, you’d better have a working 

smoke alarm. ——Dawna Kaufmann 

The trouble with a concept album is 

the expectation to deliver a theme, 

even if it’s a half-baked kitschy joke. 

Taraka & Nimai Larson grew up on 

a Hare Krishna commune in Florida 

and brought their trippy-hippy ways to 

the indie-hipster capital of the world, 

Brooklyn, and signed to Animal Collective’s 

Paw Tracks label. This release 

is a compilation celebrating the hits of 

10 bands (played by Prince Rama) that 

perished in the apocalypse. Each group 

“have their own stylistic identity” from 

tribal goth to Arabic pop to motorcycle 

rock. But, all have the same take on 

vocals, melodies and production—it all 

sounds like one band who forgot to stay 

in character(s). And yet, these dead 

bands are haunting. ——Daniel Siwek 

Sweetheart is the Offspring’s Offspring. 

All six tracks bristle with angst, aggression 

and shots of pure melody. The 

most perfect example of their wellhoned 

approach is “Perfect,” but really 

all six songs here seriously represent. 

Another memorable track, “Love Disaster,” 

has a construction reminiscent of 

Green Day’s bouncier moments where 

both the chorus and verse carry equal 

melodic weight. Each song varies in 

strength, some weighting the melody 

more heavily in the verse, others offering 

too many potential bleeps for 

the modern Modern Rock format for 

which XOXOX is designed. It’s a lifestyle 

soundtrack constructed to skate a little 

faster, party a little hardier and live to 

do it all again tomorrow. ——Tom Kidd

“I’ve Already Earned $50,126 Using 

TAXI and My Little Home Studio.” 

Matt Hirt – TAXI Member 

Is your music good enough to 

make money? 

I was pretty sure mine was too, 

but I didn’t have a clue how to make 

great connections. I’m just not good 

at playing the “schmoozing” game. 

And even if I was, I had little chance 

of meeting the right people. 

I needed a way to market my 

music, so I joined TAXI and the 

results were nothing short of 

incredible. 

Now, all I have to worry about is 

making great music. The people at 

TAXI do an amazing job of hooking 

me up with opportunities that I 

would never uncover on my own. 

I’ve already cut deals for more 

than 70 of my songs, and they’re 

getting used in TV shows like 

Dateline, Law and Order SVU, and 

The Osbournes. And yes, I’m 

making money. 

I was kind of surprised that the 

recordings I make in my little home 

studio were good enough. I guess 

size really doesn’t matter;-) 

Want to know what does 

matter? Versatility. Being able to 

supply tracks in different genres 

makes you even more desirable for 

Film and TV projects. I didn’t 

know that until I became a TAXI 

member and started going to their 

members-only convention, the 

Road Rally. 

If you joined TAXI and never 

sent in a single song, you’d still 

get more than your money’s worth 

just by going to their convention. 

It’s three days of incredible panels 

loaded with some of the most 

powerful people in the music 

The World’s Leading Independent A&R Company 

1-800-458-2111 

business, and the cool part is that 

it’s FREE! 

Unlike some of the other 

conventions I’ve attended, the 

panelists at the Rally are friendly 

and accessible. I’ve never been 

anywhere that gives you so much 

great information, and so many 

chances to meet people who can 

help your career. 

If you’ve needed proof that a 

regular guy with ordinary equipment 

can be successful at placing music in 

TV shows and movies, then my 

story should do the trick. 

Don’t let your music go to waste. 

Join TAXI. It’s the best service on 

the planet for people like you and 

me – they really can turn your 

dreams into reality if you’re making 

great music. 

Do what I did. Call TAXI’s 

toll-free number, and get their free 

information kit. You’ve got nothing 

to lose, and a whole lot to gain! 

49

MICHELLE KING 

NEW MUSIC CRITIQUES 

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 5 denotes an average, competent artist. For more information, see Submission Guidelines on next the page. 

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Lyrics 

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Vocals 

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Belmont Lights 

Contact: tiffany@lafamos.com 

Web: belmontlightsmusic.com 

Seeking: Film/TV, Label, Booking 

Style: Alternative Pop/Rock 

Username: belmontlights 

ew bands have so much going for 

Fthem in the commercial pop-rock 

realm as this San Diego act. Not only 

is Isaiah Blas blessed with a smoothly 

appealing voice, but the material is 

memorable and the production is high 

calibre. With stadium-sized sing-along 

chants, string sections, concussive effects 

in the tracks, "Halfway," "Young 

and Memory," and the rainy-day rocker 

"Battle," offer music that is alternately 

epic and introspective, always hookcentric, 

uber-radio-ready and film/TVfriendly. 

We have no idea why a label 

has not yet signed this band. 

Elysion Fields 

Contact: shelly@metalworksmanagement.com 

Web: elysionfields.net 

Seeking: Booking, Film/TV 

Style: Metal 

Username: elysion fields 

hrash metal at its finest sums up 

Tthese Chicago natives. "Conquest 

of Man" has As I Lay Dying written 

all over it: quick thumping chugs, 

standout solos sealed with a clean 

hook, and that bass lead outro was 

a nice touch. "We Are One" is more 

straight-up hardcore while "Of Titans" 

exposes the band's vast screaming 

dynamics. One thing all these tracks 

could use is more verb on the clean 

vocals, or something to give it more 

presence overall. Continue molding 

your own sound and Metal Blade and 

Victory will soon take note. 

Carla Bean 

Contact: bean@carlabean.com 

Web: carlabean.com 

Seeking: Label, Agent, Film/TV 

Style: Pop/Alternative 

Username: carla bean 

arla Bean specializes in pop 

Csongs with an innate theatricality, 

unusual chord progressions and edgy 

undercurrents that, while imaginative, 

make her recordings an acquired 

taste. With funky beats and a horn 

section, "Mess of Things" manages 

to retain its hooky spine. "Unfamilar 

Walls" features esoteric, obtuse lyrics 

and has a rich arrangement that keeps 

the listener engaged. Accented by 

accordian, "Superman" is a clever 

riff on the superhero tag. Like all of 

Bean's material, it goes outside the 

boundaries of popsong formula. 

HARETH TAYEM 

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9 

8 

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9 

9 

8 

7 

7 

9 

8 

8 

7 

7 

7 

9 

Alfa 

Contact: tourmgr@gmail.com 

Web: sonicbids.com/alfamusic 

Seeking: Label, Booking, Film/TV 

Style: Singer-Songwriter, Folk/Pop 

Username: tourmgr 

ou can picture the artist singing her 

Yuplifting, melodic "Supergirl" into a 

mirror, boosting her self-confidence 

with each crafty chord change. The 

clean, uncluttered arrangement of this 

breezy, engaging song allows Alfa's 

vocal warmth to carry the day. "Love 

As a Tragedy-3 Acts" is a pop-rocker 

with an ascending/descending melody 

as Alfa's takes her ex to task for his 

pessimism. A poignant character study 

emerges to a waltz cadence in the 

French accordian flavored "Isabelle." 

Fans of Ingrid Michaelson and Sara 

Bareilles will savor this artist. 

Valarie Pettiford 

Contact: robert@gorgeousmediagroup.com 

Web: officialvalariepettiford.com 

Seeking: Film/TV, Booking 

Style: Pop 

Username: valariepettiford 

warm and intimate vocalist, Petti- 

A ford's pop lullabyes, "My Miracle," 

"Starring You," and "I've Been Waiting 

For You All My Life," are part of a 

theme album. Reverbed production 

creates a live vibe as Pettiford delivers 

sentiment with a high level of 

expressiveness that comes from years 

of Broadway experience, forming 

each word precisely and projecting 

pure homespun emotion. Despite a 

tendancy toward schmaltz, her ability 

to convey the utter joy of motherhood 

will be undeniable to women with an 

ear for mainstream theater. 

Dave Widow & the Lineup 

Contact: dougdeutschpr@gmail.com 

Web: davewidow.com 

Seeking: Label, Booking, Film/TV, Distr. 

Style: Funk/Blues/R&B/Rock 

Username: davewidow 

acked by seasoned cats with cre- 

Bdits (Stevie Wonder, Van Morrison), 

chick singers and a horn section, and 

armed with an able voice and a brittle 

guitar tone, Dave Widow lives to rock 

the blues, as his "Blues Man" relates. 

His my-baby-left-me song, "Long 

Gone," has blues chords that color a 

familiar tale, and is also dance-friendly, 

which is key to Widow's appeal; he 

understands that the blues is not 

about being down, it's about surviving 

and living life. These clean recordings 

are a calling card for well deserved live 

gigs and perhaps a film placement.

SEAN SIMMERS 

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6 

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7 

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7 

Kingsfoil 

Contact: mmoses@bwr-la.com 

Web: kingsfoil.com 

Seeking: Album Reviews 

Style: Indie Pop 

Username: kingsfoil 

A-based foursome Kingsfoil are 

Ppoised for a breakthrough, but it will 

only come with better material. As it is 

now, singer Jordan Davis is excellent, 

if not distinctive, and the musicianship 

and overall sheen of these recordings 

is bright, tight and pro quality. Problem 

is, the songs, "Albatross," "Quick Fix" 

and "Hope...," though full of arena-rock 

choruses and some "lift-your-lightersto-the-sky" 

moments, ultimately melt 

together, without a standout. Better 

tunes and more falsettos from Davis 

would make this talented, bubblingunder 

band emerge in a big way. 

The VIPs 

Contact: wearethevips@gmail.com 

Web: soundcloud.com/wearethevips 

Seeking: Critiques 

Style: Alt Folk Rock 

Username: wearethevips@gmail.com 

rassy fields, family-oriented com- 

Gmercials and sports montages 

come to mind when listening to this 

vocal group, who at times sound almost 

like classic CS&N. Unfortunately in 

"Her Heart Is Home" the lead singer 

can't seem to hear himself and strains 

noticably. "Bee Times" works better 

as all vocalists sing in unison. What 

we like overall is that all details in the 

arrangements are added with an instinct 

for subtlety. All in all, these are 

very good demos that show this gentle 

group could really boost its game by 

getting into a real studio. 

Lyrical Storm 

Contact: cneagency@lyricalstorm.com 

Web: lyricalstorm.com 

Seeking: Booking, Touring 

Style: Hip-Hop 

Username: lyrical storm 

amenting what has been lost in 

Lhip-hop, this late '80s/early '90s 

influenced artist lays it all out in his 

"Abandoned." Set to a funereal choral 

track, his lyrics cite what he sees as 

the scene's degeneration "from rap to 

crap." It's a poetic song that might be 

even more affecting if done entirely a 

cappella. The eerie "Drunken Haze" 

takes a grim view of the degraded 

club scene. With his methodical delivery 

and nostalgia for a lost golden 

era, Lyrical Storm proudly ("I spit hiphop") 

positions himself as the dark 

conscience of his generation. 

ORADA J. PHOTOGRAPHY 

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NEW MUSIC CRITIQUES 

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. 

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Masha T 

Contact: masha@pch-records.com 

Web: mashatmusic.com 

Seeking: Label 

Style: Pop/R&B/Hip-Hop 

Username: masha T 

soul-pop performer based in Phila- 

A delphia, Masha T has a formidable 

vocal range and a penchant for highly 

sensual overtones. An ideal example 

is her "Just Want You To Know," which 

is softer than a satin pillow and clearly 

inspired by Mariah Carey. Masha T's 

cover of soul nugget "La La Means I 

Love You" is a deft choice of material 

for this artist and her take on it is 

engaging. However, the track has a 

noisy tone and there's no denying the 

Ukraine-born singer's English is laden 

with a pronounced accent. 

Vessel 33 

Contact: string2000@msn.com 

Web: fb.com/vesselthirtythree 

Seeking: Label 

Style: Hard Rock / Electronica 

Username: string2000@msn.com 

imultaneously heavy and melodic, 

Swith nods to Trapt, Linkin Park and 

Breaking Benjamin, this L.A.-based 

duo are employing a well-trod blueprint 

(that ruled in the early 2000s) and 

follow it with skill. "Relapse" deploys 

myriad synths and percussive guitar 

riffs to generate the kind of energy 

that could enhance an action flick. 

The cosmic dirge-like "Evening of the 

Seventh" could grace a David Fincher 

film. While the execution here is quite 

good, we'd like to hear even stronger 

dynamics at times to really put a rocktronic 

kick into these recordings. 

Jim from the Moon 

Contact: jim@jimfromthemoon.com 

Web: jimfromthemoon.com 

Seeking: Label, Mgmt, Booking, Film/TV 

Style: Dark Acoustic Folk/Psychelectric 

Space Rock 

Username: Jim from the Moon 

ith just a strident voice and 

Wacoustic guitar, "Thanksgiving 

Day" heralds an aggressive, heartsick 

busker, possibly with punk rock roots, 

looking for "the one" girl, and he 

wears his heart heavy on his sleeve. 

"Esqueleton" adds subtle effects in 

the track that build to a wild squall of 

a climax. "To Live to Roam" is where 

Jim's potential finally blossoms as 

a full band fills in the blanks, boosts 

the energy and connects the dots. No 

question this power-strummer would 

do well to take his bedroom tunes and 

outfit them for his nimble support trio. 


LIVE REVIEWS 

Bow Thayer & Perfect 

Trainwreck 

Great Scott 

Allston, MA 

Contact: Scott Florance, Battenkill Music, 

battenkillmusic@gmail.com, 213-327-8291 

Web: http://bowthayer.com 

The Players: Bow Thayer, vocals, guitar, banjo; 

Jeremy Curtis, vocals, bass; Jeff Berlin, drums; 

James Rohr, keyboards; Chris McGandy, pedal 

steel guitar. 

Username: bow@bowthayer.com 

Material: If you think they don’t make bands 

like the Allman Bros. anymore, think again. Bow 

Thayer and his posse emulate the great Southern 

rock tradition of super fueling the staid backbone 

behind bluegrass, country, and blues and launching 

the triad into jammy transcendence. Best 

known for his work with Levon Helm, Thayer’s 

buttery vocals are continually caressed by elegant 

keyboards and haunting pedal steel guitar, while 

deep, pulsating drum and bass relentlessly push 

their sound forward. 

Musicianship: Each passenger on the Trainwreck 

express displays a mastery of his instrument. 

They boast seriously intricate compositions. 

The way in which the group are able to weave 

together shifting tempos—forever enhancing and 

never interfering with their compadres—exhibits a 

seriousness of craft that can only be admired. 

The Kicks 

The Viper Room 

West Hollywood, CA 

Contact: thekicksrock@gmail.com, 

615-479-7458 

Web: http://thekicksrock.com 

The Players: Jordan Phillips, lead vocals, 

rhythm guitar; Adam Stark, lead guitar, keyboard, 

backup vocals; Gabriel Anderson, bass, backup 

vocals; Tucker Wilson, drums. 

Username: thekicksrock@gmail.com 

Material: The Kicks are a band that wear two 

different shoes. On one foot, they are a stripped 

down loose-and-fast rock band trying to save 

the radio, like Jets, the Bawdies or Jack White’s 

projects (makes sense since Vance Powell 

mastered the Kicks’ last album). When the tempo 

slows, the other shoe falls and the more countrytinged 

half of the Kicks emerges with hints of 

piano and acoustic guitar. It’s hard to tell that 

this Nashville group started off covering Beatles 

songs. You’ve probably heard them if you’ve 

watched Vampire Diaries, Pretty Little Liars, or 

�own a particular Southwest Airlines �ight lately. 

Musicianship: The rock and country sides of their 

music each possess different uses of harmony 

and guitar, the shoelaces that tie all of the Kicks’ 

songs together. Jordan Phillips is reminiscent 

of Bryan Adams—a good voice full of passion, 

nostalgia and lust for life. Stark and Anderson 

help out on the microphones, but not in a cookie 

cutter way; on warm, strumming tracks like “Right 

from the Start” and “Good Morning,” it’s more of 

a gentle echo behind the chorus or bridge. On 

uppity rock tracks like the fantastic “Hawk Eyes” 

it’s minimal; on the head-bopper “Shake It Loose” 

it’s all over the lyrics. 

Perhaps it would bene�t this quartet to have 

more songs in their set that don’t use harmony— 


Bow Thayer & Perfect Trainwreck: Buttery vocals caressed by elegant keys and haunting pedal steel guitar. 

Performance: Letting the music speak for itself, 

their set presented little in the way of outward 

showmanship beyond Thayer’s trademark hat 

and novel electric guitar / banjo hybrid. Their professionalism 

was manifest, though, when Thayer 

popped a string and the others �lled the instrument-swapping 

gap with a �awless interlude that 

meshed seamlessly with their subsequent bit. 

The 45-minute set would have �owed better with 

shorter breaks between songs, but this negligible 

complaint didn’t mute the audience’s obvious 

exuberance. 

The Kicks: A live act that appeals to several rock generations. 

this isn’t school choir, boys. Stark on lead guitar 

cuts that traditional classic rock sound that 

Gibson is known for, while Phillips’ rhythm guitar 

blends seamlessly to create a good foundation for 

vocals. Bassist Anderson blends so well that he 

often hides, but he provides most of the texture. 

Drummer Wilson is stuck in the back behind the 

Three Amigos, but he faithfully keeps up the 

mood and keeps the rhythm from running away 

from itself. 

Performance: Although this was the Kicks’ 

milestone 300th live show, it was quite short—they 

went on early for Hollywood, at 8:30 p.m., and cut 

only seven tracks. There was almost no space to 

move on the stage, but the band were so into their 

music that it was entertaining nonetheless. It was 

as if no one else was in the room, and the fact that 

people were hesitantly clustered away from the 

Summary: Fifteen years ago, Thayer �ed Boston 

for the tranquility of Vermont. This performance 

marked his �rst visit to Great Scott in 20 years. 

Maybe it’s the maple syrup, but whatever he’s 

been up to in those intervening years has paid 

dividends. There’s little to criticize with this respectable 

pack, except that their sophistication 

may work against them in our dumbed down, 

trend-focused world. It’s rare that something truly 

wondrous breaks through that plastic façade, but 

it would be great if these guys did so. 

——Andy Kaufmann 

stage seemed irrelevant to the group. They were 

having fun, and that’s what mattered. As usual 

with live shows like this, it was hard to hear the 

lyrics but if you come to hear guitar playing you’re 

in the right place. 

Summary: The Kicks sound bright and polished 

on their records, but they are absolutely a live 

band. Yes, the harmonizing is more apparent live 

and wears out its welcome halfway through, but 

the energetic guitar players are a good distraction. 

The rock edge appeals to the younger crowd, but 

their softer country side is unthreatening to the 

over-30 crowd. How this band is unsigned is a 

mystery. Check them out while the tickets are still 

cheap. 

––Jessica Aves 

GET YOUR ACT REVIEWED: See musicconnection.com/amp. Please DO NOT mail a package; we no longer accept them. 

ANDY KAUFMANN 

Jessica aves

LIVE REVIEWS 

The Company Men 

The Key Club 


Contact: eileen@eileenkoch.com 

Web: http://thecompanymen.com 

The Players: Daniel Tatar, vocals; Shawn 

Perucca, vocals; Stuart Ambrose vocals; 

Brian Purcell, vocals. 

Username: booking@thecompanymen.com 

Material: The gentlemen known as the Company 

Men are a sophisticated quartet who have embraced 

the growing mash-up generation with artistic 

style. This “man band” marries timeless classics 

with modern day hits, such as Stevie Wonder with 

Maroon 5, and Billy Joel with One Republic, while 

stirring in a hint of their own musical interpretation. 

Musicianship: Considering the group was created 

just nine months ago, the Company Men 

are well-put together. Brian Purcell and Shawn 

Perucca are clearly the leaders of the pack, but 

not because of superior vocal ability —Daniel 

Tatar and Stuart Ambrose each has a strong vocal 

presence to show off when given the chance. 

The fact is, each singer is good, but all together 

they are fantastic. With four-part harmonies that 

stack to perfection, they create a rich, extravagant 

and distinctive sound. Combine that with clever 

musical creations and on-point choreography and 

you have a dynamic bunch of entertainers. 

Performance: The Company Men did not simply 

perform, they entertained. Dressed to the nines 

they set the scene with candlelit tables and 

wooed the crowd with impressive choreography 

and extravagant lighting techniques. What tied it 

all together, however, was the electrifying energy 

The Right Now 

Del Monte Speakeasy 

Venice, CA 

Contact: Chris Corsale, chris@therightnow.com 

Web: http://therightnow.com 

The Players: Stefanie Berecz, vocals; Brendan 

O’Connell, keys, guitar, vocals; Chris Corsale, 

guitar, vocals; Greg Nergaard, bass; John 

Smillie, drums; Jonathon Edwards, bari sax, alto 

sax, �ute; Jim Schram, tenor sax, �ute. 

Username: the right now 

Material: The Right Now push all the right buttons 

with a polished, experienced and truly timeless 

sound. The style would most often be considered 

soul or R&B, sometimes edging toward funk, 

and generally falling into the category of quality 

organic dance music. In�uenced by the greatest 

of Motown and ‘70s soul, Isley Brothers, Prince, 

Stevie Wonder, Donny Hathaway, P-Funk, (the 

list could continue for pages) and with a powerful 

frontwoman of the likes of Chaka Kahn or Joss 

Stone, the music of the Right Now simply makes 

one feel good. 

“I Can’t Speak for You” is a perfect example 

of the timeless sound, foot-tapping sophisticated 

strut groove leading up to a powerful chorus, all 

the while including tasteful hooks and the perfect 

use of horns. The music takes any human with a 

functional heartbeat on a journey to a sense of 

community and oneness, all the while forcing the 

body to move and the spirit to quiver. 

Musicianship: In order to properly execute music 

of this style and caliber, the musicians must be 

top-notch, which is the case with the Right Now. 

Frontwoman Stefanie Berecz demands power 

and attention with a voice that captures the full 

range of human emotion and demonstrates 

The Company Men: Musical mash-ups paired with impressive choreography and extravagant lighting. 

that never ceased. Although some were slightly 

smoother on the dance moves than others, not 

one member seemed out of place. 

The Company Men experienced some technical 

difficulties during their most prized compilation, 

but they managed to power through the dead air 

with laughter and audience participation. The only 

disappointment was Shawn Perucca’s decision to 

skip over the song completely. But as they say, the 

show must go on. 

The Right Now: Grooves directly from the soul with limited digital manipulation. 

hard-earned craft combined with raw energy. 

John Smillie, Greg Nergaard, Chris Corsale and 

Brendan O’Connell form a rhythm section that is 

undoubtedly a masterful collection of individual 

musicians, indicated by playing simple, with every 

hit or chord or hook placed perfectly, allowing one 

not to think, just move. The entire band work as 

a unit of players that have done this before and 

enjoy the art of making music together. Edwards 

and Schram on the horns demonstrate quality 

lyrical ability in a couple solos, but mainly prove 

their brilliance with their simplicity and timing. 

Performance: The setting of the Del Monte 

Speakeasy in Venice Beach was a surprisingly 

perfect �t for the Right Now. Though the band 

was slightly cramped on stage, no one indicated 

discomfort or awkwardness. The band also wore 

matching shirts and ties, which was another simple 

Summary: Watching this dapper quartet on 

stage is like watching an episode of Glee for a 

more mature crowd, yet they manage to keep it 

fun for all ages. After getting a bit more stage time 

under their belts, this group’s seamless mashups, 

dynamic choreography and attention-getting 

stage presence could dance the Company Men 

right into a permanent gig on the classier side of 

the Las Vegas Strip. 

——Allegra Azzopardi 

and clear sign of professionalism that put an act 

into a category of “legit” almost subconsciously. 

Berecz gave a passionate performance and 

had an ability to connect with the packed and 

sweaty basement-like atmosphere. Of the 100+ 

folks down in the historic Speakeasy, most were 

dancing. The effect of the music on the scene 

was profound. 

Summary: The Right Now are a group of 

musicians for people who love music and 

generally enjoy living. In a world where so many 

dance tunes are generated from 1s and 0s, it’s 

refreshing to see and feel the groove coming 

directly from the soul with limited digital manipulation. 

Regardless of musical tastes, music of 

this caliber and organic style is nearly impossible 

to resist. 

––Tim Reid, Jr. 


ALLEGRA AZZOPARDI 

TIM REID JR.

LIVE REVIEWS 

Tyler Bryant & the Shakedown: Sickeningly talented 

with sweet guitar riffs and refreshing antics. 

Camille Bloom 

Genghis Cohen 

Los Angeles, CA 

Contact: wendy@hellowendy.com 

Web: http://camillebloom.com 

The Players: Camille Bloom, guitar, vocals. 

Username: cambloom 

Material: English teacher turned touring artist, 

Camille Bloom tells her story through a medium 

of impeccably structured acoustic rock songs. 

Possessing a clever way with words, this Seattlebased 

singer paints the most unpleasant situation 

into a lyrical masterpiece. A perfect example is 

“Here You Come Again,” which could easily be 

interpreted as a lament from a scorned lover. 

However, as the singer admits with a smile, the 

source lies within her torturous battle with a gluten 

allergy. This, along with all of her other self-written 

songs, make it quite clear that no matter what 

sparks her inspiration, Bloom is not afraid to keep 

it real. 

Musicianship: With effortless control, Bloom’s 

vocals resonate both strength and vulnerability. 

She delivers each lyric with pristine clarity and 

�lls the room with an intoxicating con�dence. To 

top it off, the girl can play a mean acoustic guitar. 

Finding a perfect balance between frantic strums 

and melodious plucking, she builds a full-bodied 

sound to accompany her powerful voice. 

Performance: From the second Bloom stepped 

up to the microphone, the scattered attention of 

the room focused directly on her and it wasn’t 

her brightly colored “ugly” shirt that commanded 

it. The one-woman band coupled a captivating 

talent with a stellar personality that kept all eyes 


Zack Whitford 

Tyler Bryant & the 

Shakedown 

The Viper Room 


Contact: alexis@npgpr.com, 323-522-3112 

Web: http://tylerbryantmusic.com 

The Players: Tyler Bryant, lead vocals, guitar; 

Caleb Crosby, drums, percussion; Graham 

Whitford, guitar, backup vocals; Noah Denney, 

bass guitar, backup vocals, tambourine. 

Username: alexis@npgpr.com 

Material: Tyler Bryant is a 21-year-old guitar prodigy 

from Texas with a long list of accomplishments. 

Apparently Vince Gill called him a “future guitar 

god.” In Nashville last year, he founded his permanent 

backing band, the Shakedown, all of 

whom studied music in college. Combined, Tyler 

Bryant & the Shakedown sound like rock from 

their dad’s generation—oh wait, that’s probably 

because guitarist Graham Whitford’s dad is 

Aerosmith’s Brad Whitford. For a more modern 

comparison, imagine if the Black Keys blended 

with the Toadies. 

Musicianship: You can’t hear the lyrics at all, as 

per normal, but who really cares? It’s more just 

a bonus, because the listeners come to hear 

guitars. There’s syrupy vamping, and good key 

tonality. Their thick, heavy notes are purely rock & 

roll—until they go into shredding mode and throw 

any sense of strict phrasing out the window. 

Bassist Noah Denney brings a sound to 

the table that Deep Purple fans will recall with 

fondness. Caleb Crosby is a trained drummer, and 

he can easily morph from strict time-keeping to 

showy power playing to Taiko-esque hammering 

for dramatic effect—he could keep tempo in an 

Camille Bloom: A perfect balance between frantic strums and melodious plucking. 

and ears alert. Like a �ery ball of energy, every 

aspect of Bloom seemed to illuminate the stage. 

Her facial expressions sang with every note as 

her body danced naturally through her guitar. 

Between songs, she conversed with the crowd as 

if they were her friends. She cracked jokes and 

told stories that were interesting rather than an 

awkward attempt to �ll space. 

She closed the set with “Habit,” a sing-along in 

which she intertwined her original song with clever 

and sometimes humorous mash-ups that included 

snippets from Chaka Khan, the Police and Donna 

Summer, to name a few. 

earthquake. Golden boy Tyler Bryant plays a 

mean guitar, but his voice is probably the weakest 

part of the band. Sure he can sing, and quite well 

at that, but his voice sounds so young. 

The group nails the “classic rock out�t” so well, 

down to their Pink Floyd shirts, �ared jeans and 

Graham’s Peter Frampton hair. But such a band 

demands a singer with a more mature voice. 

Hopefully, he’ll grow with the band. 

Performance: Tyler Bryant & the Shakedown 

started off with a bang performing “Fool’s Gold” and 

made their way through nine songs. Bryant and his 

boys knew how to make the best out of a tiny stage 

and, oh god, so many guitar solos. Some were so 

long that it was easy to lose track of when they 

ended or began, like the enormous solo around the 

time of “Lipstick Wonder Woman” and “Downtown 

Tonight.” Bryant wasn’t content having another �t 

of shredding, so he paused to introduce the other 

players and gave them all time for their own solos. 

Crosby actually dragged one of his tom toms 

to the front of the stage to do his machine gun 

demonstration, then drummed on the stand, the 

amps, the �oor, the mic stand, and then back up to 

the skin. It was nuts, and the audience went crazy. 

Bryant then hopped onto the rest of the drum kit for 

a whole band solo and only then were they done. 

Phew! 

Summary: Sickeningly talented, Tyler Bryant & 

the Shakedown are bringing hope to a nostalgic 

audience bored with autotune abuse and repetitive 

bars of music. Their kinetic energy is tangible, 

the guitars are sweet, their drummer’s antics are 

refreshing, and they already are attracting all the 

right attention. Even with Bryant’s voice needing a 

few years on it, it seems his guitar playing is as big 

a deal as people say. As Julian Cope was so fond 

of writing in his bio, “Awlright!” 

––Jessica Aves 

Summary: It doesn’t take long to fall in love with 

Camille Bloom. She is funny, down-to-earth and 

an excellent songwriter. As strong as she is with 

just a voice and a guitar, one can only imagine 

what a powerhouse of a performance she could 

rock with a back-up band. Whether solo or 

supported, however, Bloom’s touring career has 

a bright future. 

––Allegra Azzopardi 

ALLEGRA AZZOPARDI

LIVE REVIEWS 

Rebecca Loebe 

The Living Room 

New York, NY 

Contact: monica@thinkpress.com 

Web: http://rebeccaloebe.com 

The Players: Rebecca Loebe, vocals, guitar 

Username: RebeccaLoebe 

Material: Indie folk artist Rebecca Loebe (pronounced 

Lo-bee) is a newly transplanted Austin, 

TX artist (by way of the East Coast) who spends 

the majority of her time on the road traveling 

from venue to venue. She describes herself as 

an “itinerant” performer, a lifestyle that provides 

her with access to a huge cross section of the 

population which her stories and songs re�ect. 

Much of her material is confessional in nature 

coupled with straight-ahead storytelling. Full of 

quirky observations and inherently musical, her 

songs are snapshots which sometimes play like 

personal diary entries rather than hooky songs 

with big choruses. 

“Swallowed by the Sea,” a cut on her newly 

released Circus Heart, is a re�ective ode to life 

on the road and the sacri�ces made for one’s 

art. Loebe, originally from the Atlanta, GA area, 

made a noticeable splash when she snagged a 

coveted spot on the debut of the network show 

The Voice, quite an achievement for a folk artist in 

a showcase mainly comprised of pop acts. (It’s a 

genre however that her voice could easily �t into 

should she ever choose that direction.) 

Musicianship: Educated at Boston’s Berklee 

School of Music, Leobe shares—along with 

many of its graduates —a musical discipline and 

Kiss the Salt 

King King 

Hollywood, CA 

Contact: naominektare@hotmail.com 

Web: http://kissthesaltmusic.com 

The Players: Naomi Nektare, vocals; Brandon 

Criswell, bass; Richi Vaccatro, guitar. 

Username: Naomi nektare 

Material: Kiss the Salt is a strange time warp 

into the blonde female-led hippie rock bands of 

yesteryear. Overly showy, and simultaneously 

loud and drowsy, the listener walks away feeling 

a bit dazed. Their band name Kiss the Salt— 

often abbreviated as KTS—is left unexplained. 

Musicianship: The band's bio, de�ning singer 

Naomi Nektare as a “Tina Turner/Stevie Nicks 

crossover,” is spot-on; her deep jazz bravado is 

also eerily similar to the voice of Japan’s Mai 

Yamane of Cowboy Bebop soundtrack fame. 

Richi Vaccatro on guitar sounds phenomenal 

and it is mesmerizing to watch him extract every 

note like he’s pulling taffy. At times, the bass feels 

more like a fog machine, hazily �oating around 

in the background, playing independently of 

anyone, even the time-keeping drummer. 

The music is a strange blend of ‘70s folk and 

‘80s pop-rock. The track “Green Feather” is 

reminiscent of Pink Floyd—the guitar is so authentically 

classic rock that it just makes you 

close your eyes to enjoy it. 

Performance: Nektare’s band took its time 

setting up a stand displaying the band’s name 

and dropping a veil over the stage for a �ashy 

entrance. She was decked out in black sequin 

pants and top, complete with white ruffles and 

arm-length white gloves, heels and sunglasses. 

It was so amazingly ‘80s, especially when 

Rebecca Loebe: A wholesome, tireless performer with musical discipline. 

attention to good musicianship and vocal phras- 

ing. Her voice has a warm, reedy tonality giving 

an overall bright quality to her sound. With pro- 

�cient guitar as her only support, it would be a 

plus to hear some motifs in the instrumental lines 

which would serve as internal “hooks,” making 

the songs even more compelling and memorable. 

Performance: Loebe is truly the girl-next-door. 

Her wholesome vibe and bubbly personality were 

refreshing even during darker, racier moments 

and a nice respite from the industry’s obsessive 

need for edgy music. Loebe has a big heart and 

an appeal that breaks down the age barriers. She 

related to the audience with ease, many of whom 

were older by more than a generation, but they 

Kiss the Salt: A mystifying blend of ‘70s folk and ‘80s pop-rock. 

juxtaposed with the longhaired ‘70s bassist and 

the more modern looking guitarist and drummer. 

Nektare is a kinetic performer, emphasizing her 

lyrics with arm movements and torso gyrations. 

In the �rst couple songs as well as the ending 

tracks, a ‘50s-esque go-go dancer pranced 

around the stage, which again was puzzling and 

hardly seemed relevant. 

Overall, Kiss the Salt sounded well balanced, 

but the volume was far, far too loud. The other 

issue was that the �oor vibrated with each strong 

guitar note so that the King King was practically 

buzzing at tinnitus-inducing volume. Also, the 

vocalist should have scaled back the reverb 

programmed into the microphone—for one or two 

seemed quite enthralled with her delivery and 

overall presentation. 

Toward the latter part of her set, Loebe performed 

the song that landed her on The Voice; a 

beautifully haunting version of Nirvana’s “Come 

as You Are.” 

Summary: Rebecca Loebe is a solid well-trained 

musician and vocalist who is out there paying 

her dues in spades. Her tireless performing is 

evident as she continues to enlist new fans. Even 

stronger material with attention to more musical 

hooks will help catapult her into a bigger arena 

without compromising her unique take on life. 

––Ellen Woloshin 

songs, okay, but it was weird to have a quadruple 

echo during the between-song speeches. Asked 

to do an encore, KTS obliged with “Gerald’s Song.” 

Summary: It is unclear how Kiss the Salt want 

to be perceived. While their show is certainly 

spirited, it is also a bit chaotic, making it difficult 

for the audience to know exactly what they’re 

supposed to be focused on and, ultimately, what 

artistic vision the band is offering. 

Perhaps it would be fruitful for Kiss The 

Salt to rethink the band’s stage management. 

Judging by their fuss over image and their heavy, 

hypnotic sound, KTS are not standard bar-band 

entertainment. ——Jessica Aves 


MARK SHIWOLICH≠ 

JESSICA AVES

33 rd 

Annual Directory of 

Music Publishers 

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

ABET MUSIC 

411 E. Huntington Dr., Ste. 107-372 

Arcadia, CA 91006 

866-574-0275 

Web: www.abetmusic.com 

Styles: easy listening, chill, rock, world 

music, alternative 

How to Submit: e-mail with a link to 

music/web 

AIR DELUXE MUSIC GROUP 

23 Music Sq. E., Ste. 301 

Nashville, TN 37203 

615-726-1204 

E-mail: bob@airdeluxemusic.com 

Web: www.airdeluxemusic.com 

Contact: Robert W. Berg 

Styles: country, pop & blues 

How to Submit: no unsolicited material 

ALFRED PUBLISHING 

P.O. Box 10003 

Van Nuys, CA 91410-0003 

818-892-2452 Fax 818-830-6252 

E-mail: customerservice@alfred.com 

Web: www.alfred.com 


ALVA MUSIC PUBLISHING 

Golden Boy Records 

P.O. Box T / 16311 Askin Dr. 

Pine Mountain Club, CA 93222 

661-242-0125 Fax 661-242-8334 

E-mail: gbrmusic@frazmtn.com 

Contact: Eddie Gurren 

Styles: R&B, country 

How to Submit: unsolicited material 

accepted 

ANOTHER VICTORY, INC. 

346 N. Justine St., Ste. 504 

Chicago, IL 60607 

312-666-8661 Fax 312-666-8665 

E-mail: getmusic@anothervictory.com 

Web: www.victoryrecords.com, 

www.anothervictory.com 


AVATAR PUBLISHING GROUP, LLC 

2029 Hyperion Ave. 

Los Angeles, CA 90027 

323-906-1500 

E-mail: info@avatardigi.com 

Web: www.avatarrecords.com, www. 

avatardigi.com 

Contact: Lynnette Jenkins 

Styles: R&B, hip-hop, rap, pop, 

Latin, electronica 

How to Submit: unsolicited materials 

accepted via US mail or electronically 

(MySpace) 

A WRITER’S PARADISE 

Nashville, TN 

615-852-8297 

E-mail: sales@awritersparadise.com 

Web: www.awritersparadise.com 

Contact: Stacy Hogan 


BAG-O-CATS MUSIC 

P.O. Box 563 

Sparrowbush, NY 12780 

845-856-8985 

E-mail: kats@bagocats.com 

Web: www.bagocats.com 

Styles: singer-songwriter 



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

BAYLIGHT PUBLISHING MUSIC, 

MEDIA, & ART 

P.O. Box 221 

Mesa, AZ 85211 

480-656-7583 

E-mail: baylightpublishing@gmail.com 

Web: www.baylightpublishing.com 

Contact: Mary Godfrey, Music Coordinator 

How to Submit: see web prior to mailing 

BEST BUILT SONGS 

1317 16th Ave. S. 


615-385-4466 

E-mail: larry@bestbuiltsongs.com 

Web: www.bestbuiltsongs.com 

Contact: Larry Sheridan 


BICYCLE MUSIC COMPANY, THE 

449 S. Beverly Dr., 3rd Fl. 

Beverly Hills, CA 90212 

310-286-6600 Fax 310-286-6622 

E-mail: info@bicyclemusic.com 

Web: www.bicyclemusic.com 

Contact: Jake Wisely 


Additional location: 

28 W. 44th St., Ste. 810 

New York, NY 10036 

212-488-1714 Fax 866-472-6469 

E-mail: roger@bicyclemusic.com 

Web: www.bicyclemusic.com 

Contact: Roger Miller 


BIG EARS MUSIC 

Oh Boy Records 

33 Music Sq. W., Ste. 102B 


800-521-2112 Fax 615-742-1360 

E-mail: jon@ohboy.com 

Web: www.ohboy.com 

Published: see web 


BIG FISH MUSIC (BMI) / CALIFORNIA 

SUN MUSIC (ASCAP) 

12720 Burbank Blvd., Ste. 124 

Valley Village, CAК 91607-1441 

818-508-9777 

E-mail: clisag21@yahoo.com 

Contact: Chuck Tennin, Lora Sprague 

Styles: country, pop, ballads, up-tempo, 

adult contemporary, gospel, Film/TV, 

orchestral, classical, instrumentals, rock, 

new age, jazz, blues, alternative. 

How to Submit: Write �rst to obtain 

permission. Do not call or e-mail. Include 

an S.A.S.E. for a reply.We will assign and 

forward to you a submission code number 

that will allow you to submit up to four (4) 

songs. We will review your songs with 

feedback. 

We can assist you through our affiliates 

and industry contacts and resources with 

song development, recording projects, 

music consultation, high quality demo’s and 

masters, music reviews and evaluation, 

recording and production mixing, 

mastering, marketing and placement of 

music to users of music. Over 40 years of 

experience in music. 

BIG TRACTOR MUSIC 

1004 18th Ave. S. 


615-292-5100 Fax 615-292-2934 

Web: http://www.myspace.com/ 


Music Connection’s updated list allows anyone to connect with music publishing companies who 

specialize in copyrights, licensing and everything else related to songs and those who write them. 

All info has been supplied by the listees. 

bigtractormusic 

Contact: Jason Krupek 


BILLY BLOCK MUSIC 

P.O. Box 128105 


615-665-8772 

E-mail: billy@billyblock.com 

Web: www.billyblock.com 

Contact: Billy Block 


BLIND PIG 

2935 N. Milwaukee Ave., 


773-772-0043 

E-mail: orders@blindpigrecords.com 

Web: www.blindpigrecords.com 

Contact: Jerry Del Giudice 

Styles: Blues 

How to Submit: No unsolicited material 

BLUEWATER MUSIC SERVICES CORP. 

705 2nd Ave., S. 


615-327-0808 

E-mail: peter@bluewatermusic.com 

Web: www.bluewatermusic.com 



BMG RIGHT MANAGEMENT GmbH 

SpreePalais 

Anna-Louisa-Karsch-Str. 2 

Berlin 10178 Germany 

+49 (0) 30-300-133 0 

E-mail: info@bmg.com 

Web: www.bmg.com 


BOK MUSIC 

25455 Prado De Las Calabazas 

Calabasas, CA 91302-3630 

818-222-9969, Fax 222-0853 

E-mail: submissions@bokmusic.com 

Web: www.bokmusic.com 

Contact: Monica Benson 

Styles: all styles 

How to Submit: No phone calls. 

Unsolicited material accepted. Include 

lyrics. See website for guidelines 

BOOSEY & HAWKES, INC. 

229 W. 28th St, 11th Fl. 


212-358-5300 

E-mail: composers.us@boosey.com 

Web: www.boosey.com 


BOURNE CO. MUSIC PUBLISHERS 

5 W. 37th St. 


212-391-4300 Fax 212-391-4306 

E-mail: bourne@bournemusic.com 

Web: www.bournemusic.com 

Styles: entire music spectrum 

Published: Nat King Cole, Nas, the Rat 

Pack, Crazy Frog, Al Jolson, Rod Stewart, 

Barbra Streisand 


BRENTWOOD BENSON 


800-846-7664 x 3318 

Web: www.brentwoodbenson.com 

Styles: CCM, Gospel 


BUCKHORN 

POB 120547 

Nashville, TN 37212-2105 

615-327-4590 Fax 615-327-4639 

Web: www.buckhornmusic.com 

E-mail: jwilkin@mac.com 

Styles: Country, Gospel 


BUG MUSIC, INC./ WINDSWEPT 

HOLDINGS, LLC 

BMG Chrysalis US 

6 East 32nd St., 11th Floor 


E-mail: Info.us@bmgchrysalis.com 

212-561-3000 

Web: www.bugmusic.com 


Published: T-Bone Burnett, Snow Patrol, 

Ryan Adams, Wilco, Nick Cave & the 

Bad Seeds, Los Lobos, Iggy Pop, Pete 

Townshend, Spoon, the Guess Who, Talib 

Kweli, Calexico, Thievery Corporation, 

Corinne Bailey Rae, Jamie Foxx, M. Ward, 

Tegan and Sara, Sean Garrett, the Faint, 

Kings of Leon, Craig David, of Montreal, 

Lady Sovereign, John Prine, Ani DiFranco, 

Fischerspooner, the Estates of Willie Dixon, 

Muddy Waters, Stevie Ray Vaughan, 

Johnny Cash, Fred Ahlert, Del Shannon, 

Townes Van Zandt, Gram Parsons, Woody 

Guthrie, Bad�nger. 


Additional locations: 

6100 Wilshire Blvd., Ste. 1600 


323-969-0988 

29 Music Sq. E. 


615-329-0988 

710 Berkeley Ave. 

Atlanta, GA 30318 

404-609-7064 Fax 404-609-7066 

Unit 4, The Courtyard, Swan Centre 

Fishers Lane, Chiswick 

London, W4 1RX United Kingdom 

020-8996 5796 Fax 020 8996 5799 

Bug Music GMBH 

Adlzreiter Strasse 19 

80337 Munchen 

0-89-33-02 8979 Fax 0-89-33-08-9071 

BUZZART ENTERPRISES, INC. 

611 1/2 Ocean Park Blvd. 

Santa Monica, CA 90405 

310-392-3088 

E-mail: info@buzzartinc.com 

Contact: Arthur Berggren 

Styles: Rock 


CAL IV ENTERTAINMENT 

Nashville, TN 

615-321-2700 

Web: www.cal4.com 

Contact: Billy Lynn, VP Creative 

Styles: Country, pop, rock 


CARAT RECORDS 

P.O. Box 12746 

Lahaina, HI 96761 

E-mail: mail@thesongwriter.net 

Web: www.caratrecords.com, 

www.abbeystjohn.com


Contact: Alvin “Abbey” Brazley 

Styles: pop, prog, rock, metal, R&B, hiphop, 

folk, punk, classical, Hawaiian 

How to Submit: Accepts unsolicited 

material. Call or e-mail �rst. Also does artist 

development & runs studio and label. 

CAPITOL MANAGEMENT GROUP 

330 Franklin Road 

Brentwood, TN 37027-3282 

800-767-4984, 615-321-0600 

Fax 615-321-0182 

E-mail: info@aimhighmusic.com 

Web: www.musicpublishernashville.com 


CASE ENTERTAINMENT/NEW PANTS 

PUBLISHING/OLD PANTS PUBLISHING 

102 E. Pikes Peak, Ste. 200 

Colorado Springs, CO 80903 

719-632-0227 Fax 719-634-2274 

E-mail: rac@crlr.net 

Web: www.oldpants.com, 

www.newpants.com 

Contact: Robert Case 


accepted. Call before sending demos. 

CENTURY MEDIA FAMILY 

2323 W. El Segundo Blvd. 

Hawthorne, CA 90250 

323-418-1400 

Contact: Ashley Di Buduo 

E-mail: mail@centurymedia.com 

Web: www.centurymedia.com 

Notes: see website for submission 

CHANDOS MUSIC 

(Also Hillgreen Music, Tortoise Music, 

Terrapin Publishing, Folklore Music) 

P.O. Box 7003 


310-451-0767 Fax 310-664-0767 

E-mail: info@folkloreproductions.com 

Web: www.folkloreproductions.com 

Styles: roots, folk 

How to Submit: no unsolicited material; 

industry inquiries only. 

CHRISTMAS & HOLIDAY MUSIC 

26642 Via Noveno 

Mission Viejo, CA 92691 

949-859-1615 

E-mail: justinwilde@christmassongs.com 

Web: www.christmassongs.com 

Contact: Justin Wilde 

Styles: Christmas, Hanukkah, Halloween 

and other holiday music only. 


accepted. NO MP3s. No phone calls. 

Check website for most current mailing 

address and submission guidelines 

before sending. 

CHRYSALIS MUSIC GROUP 



323-658-9125 Fax 323-658-8521 

E-mail: Info.us@bmgchrysalis.com 

Web: www.chrysalismusicusa.com 

Contact: Kenny MacPherson, President; 

Scott Cresto, Sr. VP of Film & TV/A&R; 

Jamie Cerreta, VP of A&R; Dave Ayers, VP 

of A&R New York; David Stamm, VP of A&R, 

JR Lindsey, Sr. Dir. of Urban Music, A&R 


Published: Thom Yorke, Outkast, Velvet 

Revolver, Ray LaMontagne, My Morning 

Jacket, Portishead, Black Rebel Motorcycle 

Club, Gnarls Barkley, TV on the Radio, 

Paul Oakenfold, Joe Henry, Joan As 

Policewoman, Kardinal, Mastodon, Secret 

Machines, Psapp, Roy Ayers, Kill Hannah, 

Motion City Soundtrack, Trey Bruce, Jamey 

Jaz, the Crusaders, Big Tank, more. 



209 10th Ave., S., #411 

Nashville,TN 37203 

615-320-8616 

COMPLETE MUSIC USA 

Lipservices Music Publishing 

9 Prospect Park W., Ste. 14B 

Brooklyn, NY 11215 

718-638-2815 

E-mail: julie@lipservices.com 

Contact: Julie Lipsius 


COPPERFIELD MUSIC 

1400 South St. 


615-726-3100 Fax 615-726-3172 

E-mail: ken@copper�eldmusic.com 

Web: www.copper�eldmusic.com 


CORNELIUS COMPANY, THE 

Gateway Entertainment 

9 Music Square S, Dept. M 


615-256-9253 

E-mail: corneliuscompanies@bellsouth.net 

Web: www.corneliuscompanies.com, www. 

gatewayentertainment.com 

Styles: country, rock, alt., folk 

How to Submit: demo submissions are 

accepted, but try to contact for approval 

before sending materials. Do not send 

music via e-mail without prior approval. 

After approval, e-mail submissions must be 

in MP3 format. 

CRUTCHFIELD MUSIC GROUP 

1106 17th Ave. S. 


615-321-5558 

E-mail: jcrutch@crutch�eldmusic.com 

Styles: country, pop 

How to Submit: contact before 

sending materials 

CUPIT MUSIC 

P.O. Box 121904 


615-731-0100 

E-mail: dan@cupitmusic.com 

Web: www.cupitmusic.com 

Styles: country, country Christian, gospel 

How to Submit: we only accept songs on 

CD - NO CASSETTES OR E-MAILS 

CURB GROUP, THE 



615-321-9532 

Web: www.curb.com 


DELICIOUS VINYL 

6607 W. Sunset Blvd. 


323-465-2700 Fax 323-465-8926 

E-mail: contact@deliciousvinyl.com 

Web: www.deliciousvinyl.com 

Contact: Rick Ross 

Styles: hip-hop, reggae, rock 

DEL ORO MUSIC PUBLISHING 

10700 Ventura Blvd., Ste. H 

Studio City, CA 91604 

818-763-5838 

E-mail: bud@deloromusic.com, info@ 

deloromusic.com 

Web: www.deloromusic.com 

Contact: Bud Anderson 

Styles: pop, R&B, dance, rock, Latin, 

reggae, gospel, jazz, world 

Published: David Longoria, CeCe Peniston, 

Juliet B. Rock, Eric Gold, Darren Sanner, 2 

Much Caffeine, April Diamond, Bino, David 

Keough, Gerina DiMarco, 5 Star 

How to Submit: contact our office and 

request to submit your materials. 

DE WALDEN MUSIC GROUP 

530 S. Lake Ave. #318 

Pasadena, CA 91101 

626-639-3324, 818-763-6995 

E-mail: zigwal@pacbell.net 

Web: dewaldenmusic.com 

Contact: Christian de Walden 

Styles: pop rock, Latin pop, Eurodance 

How to Submit: call before submitting 

material 

DIMENSIONS GATE (BMI) 

Cleopatra Records 

11041 Santa Monica Blvd., Ste. 703 


310-477-4000 

Web: www.cleopatrarecords.com 

Contact: Brian Perera 

Published: Cleopatra Records artists only. 


DISNEY MUSIC PUBLISHING 

500 S Buena Vista St. 

Burbank, CA 91521-6434 

818-569-3241 Fax 818-845-9705 

Styles: pop 


DON WILLIAMS MUSIC GROUP, INC. 

9425 Santa Ana Road 

Ventura, CA 93001 

805-649-8790 Fax 805-649-7207 

E-mail: info@dwmg.com 

Web: www.dwmg.com 


DRAKE MUSIC GROUP 

1300 Division St., Ste. 301 


615-297-4345 

Web: www.petedrakemusic.com 


EARWIG MUSIC COMPANY, INC. 

2054 W. Farwell Ave., Garden Unit 

Chicago, IL 60645-4963 

773-262-0278 Fax 773-262-0285 

E-mail: mfrank@earwigmusic.com 

Web: www.earwigmusic.com 

Contact: Michael Frank or Rita Warder 


ECS PUBLISHING 

615 Concord St. 

Framingham, MA 01702 

800-777-1919, 508-620-7400 

E-mail: office@ecspub.com 

Web: www.ecspub.com 


EJ GURREN MUSIC 

P.O. Box T / 16311 Askin Dr. 

Pine Mountain Club, CA 93222 

661-242-0125 Fax 661-242-8334 

E-mail: gbrmusic@frazmtn.com 

Contact: Eddie Gurren 

Styles: R&B, hip-hop, gospel, country 

How to Submit: unsolicited 

material accepted 

ELLYMAX MUSIC 

350 E 30th St., 3R 


Fax 212-213-8787 

Contact: Barry Bergman 

Styles: pop, rock, alt. 


EMI CMG MUSIC 

P.O. Box 5085 

Brentwood, TN 37024 

615-371-4400 

Styles: CCM. Worship, Gospel 

E-mail: licensing@emicmgpublishing.com 

Web: www.emicmgpublishing.com 


EMI MUSIC PUBLISHING 

2700 Colorado Ave., Ste. 450 


310-586-2700 Fax 310-586-2758 

Web: www.emimusicpub.com 

Styles: rock, pop, hip-hop 

Published: the Neptunes, Usher, Kanye 

West, Ying Yang Twins, Damon Thomas 

& J-Kwon, Soulshock & Karlin, Alicia Keys, 

Enrique Iglesias, Jermaine Dupri, Jay-Z, 

Cathy Dennis, Rodney Jerkins, Jimmy Jam 

& Terry Lewis, Carole Bayer Sager, Alan 

Jackson, Michael Bolton, Sean “P. Diddy” 

Combs, Nirvana, Dallas Austin, Darryl 

Worley, etc. 



75 Ninth Ave., 4th Fl. 


212-492-1200 Fax 212-492-1865 

Contact: Big Jon Platt, Pres. of North 

American Creative 


35 Music Sq. E., 2nd Fl. 


615-457-6900 

Styles: Country 


404 Washington Ave - Ste. 700 

Miami Beach, FL 33139 

305-695-6400, 305-695-6440 


ESPY MUSIC GROUP/ BOB-A-LEW 

MUSIC 

P.O. Box 869 

Cedar Creek, TX 78612 

512-308-1593 Fax 512 308-0920 

E-mail: info@espymusic.com 

Web: www.espymusic.com 

Contact: Ronda Espy, Kim Espy 

Styles: pop, country, blues, alternative 


ESTEFAN MUSIC PUBLISHING (ASCAP) 

FOREIGN IMPORTED PRODUCTION 

AND PUBLISHING (BMI) 

420 Jefferson Ave. 


305-534-4330 

Contact: Barbara Bera 



FIRSTCOM MUSIC 

2110 Colorado Ave. Suite 110 


800-778-1574 L.A. Local: 310-865-4477 

E-mail: info@�rstcom.com 

Web: www.�rstcom.com 

How to Submit: Call before 

submitting material 


1325 Capital Parkway, Ste. 109 

Carrollton, TX 75006 

800-858-8880 Local: 972-446-8742 

FITZGERALD HARTLEY CO. 

34 N. Palm St., Ste. 100 

Ventura, CA 93001 

805-641-6441 

Contact: Michelle McKee 




1908 Wedgewood Ave. 


615-332-9493 

FORSTER MUSIC PUBLISHER 

5309 W. Devon Ave. 


312-427-2713 

E-mail: forstermuz@aol.com 


Contact: Marco Pisani 

How to Submit: call before sending 

material 

FOUR JAYS MUSIC 

443 S. San Pedro St., Ste. 406 


213-236-9222 

E-mail: fourjayscom@earthlink.net 

Web: www.harrywarrenmusic.com 

Contact: Robert Walls 

Styles: standards, �lm music all styles 

(except country 1926-1960) 


FOX MUSIC PUBLISHING 

10201 W. Pico Blvd. 


310-369-2541 Fax 310-969-1359 

Web: www.foxmusic.com 



FRETBOARD PUBLISHING 

Sound Control Studio 

1008 17th Ave S. 

(Inside the Bayou Building) 


615-292-2047 

Web: www.soundcontrolstudio.com 

Contact: Mark and Donna Moseley 


FRICON ENTERTAINMENT CO., INC., 

THE / FRICON MUSIC CO. / FRICOUT 

MUSIC CO. 


Nashville,TN 37203 

615-826-2288 Fax 615-826-0500 

E-mail: fricon@comcast.net 

Web: friconent.com 

Contact: Terri Fricon 

Styles: Film/TV music, all genres 

How to Submit: e-mail or write for 

permission, unsolicited material accepted 



FUNZALO PUBLISHING 

P.O. Box 35880 

Tucson, AZ 85740 

520-628-8655 

E-mail: dan@mikesmanagement.com 

Web: www.funzalorecords.com 

Contact: Dan Agnew 


How to Submit: accepts unsolicited 

material, prefers CDs 

GAMBLE-HUFF MUSIC 

Philadelphia International Music 

309 S Broad St. 

Philadelphia, PA 19107 

215-985-0900 x 200 

E-mail: chuckgamble@gamble-huffmusic.com 

Web: www.gamble-huffmusic.com 

Contact: Chuck Gamble 

Styles: R&B, jazz, soul 


GENE AUTRY MUSIC GROUP, THE 

(Golden West Melodies, Gene Autry’s 

Western Music Publishing, Ridgeway 

Music, Melody Ranch Music and the Gene 

Autry Music Company) 

4383 Colfax Ave. 


818-752-7770 

Web: www.geneautry.com 

How to Submit: Vintage music catalog 

GENERATION MUSIC, INC./ 

WORDS WEST LLC 

661 N. Harper Ave., Ste. 205 


323-966-4433 Fax 323-653-5111 

E-mail: tony@wordswest.com, Helen. 

mallory@wordswest.com 

Contact: Tony Gimbel, Managing Member 

Words West LLC/ Tony Gimbel, President 

Generation Music, Inc.; Helen Mallory, 

Music Licensing 



GOODNIGHT KISS MUSIC / SCENE 

STEALER MUSIC 

10153 1/2 Riverside Dr., Ste. 239 

Toluca Lake, CA 91602 

808-331-0707 

Web: www.goodnightkiss.com 

E-mail: janet@goodnightkiss.com 

Contact: Janet Fisher 

Styles: all styles, especially master-quality 

hip tracks for �lm/tv 

Published: 80 songs currently in 

Film, ads and shows 

How to Submit: online newsletter updates 

requests monthly; subscribe at our website 

GUITAR SOLO PUBLICATIONS (GSP) 

230 Townsend St. 

San Francisco, CA 91407-1720 

415-896-1922 

E-mail: gsp@gspguitar.com 

Web: www.gspguitar.com 

Contact: Dean Kamei 

Styles: Guitar music, primarily classical 

and Brazilian 


HACATE ENTERTAINMENT GROUP 

245 Eighth Ave., Ste. 869 


212-586-4229 

E-mail: info@hacate.com 

Web: www.hacate.com 

How to Submit: call or e-mail �rst, 

accepts fully produced CDs only 

HAL BERNARD ENTERPRISES 

2612 Erie Ave. 

Cincinnati, OH 45208 

513-871-1500 

E-mail: shertzman@cinci.rr.com 

Contact: Stan Hertzman 

Styles: contemporary rock, jazz, prog 

How to Submit: contact before submitting 

materials, prefers online-based media. 

HAL LEONARD CORP. 

7777 W. Bluemound Rd. 

Milwaukee, WI 53213 

414-774-3630 Fax 414-774-3259 

Web: www.halleonard.com 

Contact: Nancy Ubick 



HARLAN HOWARD SONGS, INC. 

1902 Wedgewood Ave. 


615-321-9098 

Web: www.fb.com/pages/Harlan-Howard- 

Songs-Inc/176476319084204 

Styles: Country, R&B, Pop 


HARMONIOUS MUSIC 

11054 Ventura Blvd., Ste. 333 


818-505-9537 

E-mail: jay@2activate.com 

Contact: Jay Wilson 

Styles: rock, urban, pop, club & children’s 


accepted 

HARMONY ARTISTS 



323-655-5007 Fax 323-655-5154 

E-mail: contact_us@harmonyartists.com 

Web: harmonyartists.com 

Contact: Jerry Ross, Mike Dixon 

Styles: all 


HEART CHART MUSIC 

1103 B 17th Ave. S 


615-327-0031 

E-mail: glenn_martin@comcast.net 

Contact: Glenn Martin 

Styles: contemporary country 


HELENE BLUE MUSIC 

570 Seventh Ave., Ste. 2100 


212-724-5900 Fax 212-564-3113 

E-mail: info@helenebluemusic.com 

Web: www.helenebluemusic.com 

Contact: Brian Kaplan, Creative Dir. 

Styles: blues, jazz, movie songs, R&B, 

theater music, indie, rock, pop, hip-hop, world 


HOLOWORLD PUBLISHING 

700 W. Pete Rose Way, Lobby B, Ste 390 

Cincinnati, OH 45203 

513-442-3886 

E-mail: info@holographicrecords.com 

Web: www.holographicrecords.com 

Contact: Richard Waring 

Styles: prog, Americana, folk, rock 

How to Submit: publishes only artists 

under management or signed to 

record label 

HORIPRO ENTERTAINMENT 

818 18th Ave. S. 


615-255-9837 

Web: www.horipro.com 

Contact: Butch Baker 





2372 Veteran Ave 

310-470-6005 

E-mail: la@horipro.com 

INTENSE MUSIC COMPANY 

19360 Rinaldi St., Ste. 217 

Porter Ranch, CA 91326 

818-700-9655 

E-mail: sr@intensemusic.com 

Web: www.intensemusic.com 

Contact: Sylvester Rivers 


INTERNATIONAL MUSIC COMPANY 

5 W. 37th St., 6th Fl. 


212-391-4200 

E-mail: info@internationalmusicco.com 

Web: www.internationalmusicco.com 

Contact: Marco Berrocal 

Styles: publishes classical sheet music 


JAMBO PRODUCTIONS / RHYTHM 

ADDICTION / SURROUND SOUND 

SONGS 


Woodland Hills, CA 91364 

818-227-9669 Fax 818-227-9569 

E-mail: jambomail@aol.com 

Web: michaeljaymusic.com, myspace.com/ 

michaeljaysongs 

Contact: Michael Jay 



KEATON MUSIC VENTURES 

P.O. Box 121396 


615-313-7211 Fax 615-313-7212 

E-mail: chris@chriskeatonproductions.com 

Web: www.chriskeaton.com 

Styles: Country, AAA, Pop 

How to Submit: e-mail for permission 

before submitting material 

KENWON MUSIC / BRONX FLASH 

MUSIC, INC. 


Sherman Oaks, CA 91403 

818-348-6669 Fax 818-348-6339 

E-mail: kw@bronx�ash.com 

Contact: Ken Weiss, President 

Styles: pop, theatre 


KNOX MUSIC 

639 Madison Ave. 

Memphis, TN 38103 

901-523-2251 

Contact: Roland Janes, Creative Dir. 

Styles: country, pop, rock 

How to Submit: call before sending 

material 

LAKE TRANSFER MUSIC 

11300 Hartland St., 

N. Hollywood, CA 91605 

818-508-7158 

Contact: Tina Antoine 

Styles: alt. rock, hip-hop, Latin-pop 


accepted 

LANSDOWNE, WINSTON, BLOOR & 

HOFFMAN HOUSE MUSIC PUBLISHERS 

(LWBH) ASCAP/BMI 

P.O. Box 1415 

Burbank, CA 91507-1415 

818-748-0001 Fax 818-748-0003 

E-mail: info@lwbhmusicpublishers.com 

Web: www.lwbhmusicpublishers.com 

Contact: Lynne Robin Green, President 

Styles: all styles, except for hard rock/ 

heavy metal. No middle of the road (MOR) 

pop or old-fashioned C&W songs. For �lm 

& TV submissions, musician/vocal precleared 

masters only: enclose credits of 

artist as applicable. 

How to Submit: Unsolicited material 

accepted, prefer controlled songs/cleared 

masters by Indie artists. No rough song 

demos. Stamped SASE a must or no reply. 

We cannot reply by e-mail due to volume. 

Highlight three best songs and include 

lyric sheets if enclosing a CD, NO CALLS 

PLEASE. We also offer music supervision, 

clearances, copyrights, indie cd/dvd project 

coordination and turn key pub set up for 

�lm productions. 

LEIBER & STOLLER PUBLISHING 

9000 Sunset Blvd. Ste. 720 

W. Hollywood, CA 90069 

310-273-6401 Fax 310-273-1591 

E-mail: peter.stoller@leiberstoller.com 

Web: leiberstoller.com 

LOVECAT MUSIC 

P.O. Box 548, Ansonia Station 

New York, NY 10023-0548 

E-mail: license@lovecatmusic.com 

Web: www.lovecatmusic.com 


How to Submit: e-mail to submit 

MAGNA CARTA RECORDS 

A1 Country Club Rd. 

East Rochester, NY 14445 

585-381-5224 

E-mail: info@magnacarta.com 

Web: www.magnacarta.net 

Contact: Dan Hanley 

Styles: prog 

How to Submit: see website for Demo 

Submissions 

MAJOR BOB 

1111 17th Ave. S. 


615-329-4150 

Web: www.majorbob.com 

Styles: country 


MAKIN’ MUSIC 

1222 16th Ave. S., Ste. 11 


615-320-1117 

E-mail: makin@mindspring.com 

Web: www.makinmusiconline.com 

Contact: Chris Dodson 



MAYFLOWER MUSIC 

P.O. Box 30122 

Tucson, AZ 85751 

520-326-4400 

E-mail: celestial@harmonies.com 

Web: www.harmonies.com 

Contact: Julian Parnaby 



MILES COPELAND GROUP 

1830 North Sierra Bonita Ave. 


323-512-4080 Fax 323-512-4089 

E-mail: info@milescopeland.net 

Web: www.milescopeland.biz/cia/content/ 

contact.html 

Contact: Stevo Glendinning 


MORAINE MUSIC 

500 E. Iris Dr. 


615-383-0400 

E-mail: info@morainemusic.com 

Web: www.morainemusic.com 

Contact: Dianna Maher 

Styles: Country, Rock, Blues, Americana 


MORGAN MUSIC GROUP 

1800 Grand Ave. 


615-321-9029 

E-mail: songmerch@aol.com 

Web: www.dennismorgansongwriter.com 

Contact: Dennis Morgan 

Styles: pop, country, rock 


MOUNTAIN APPLE COMPANY, THE 

1330 Ala Moana Blvd., Ste. 1 

Honolulu, HI 96814 

808-597-1888 Fax 808-597-1151 

Web: www.mountainapplecompany.com 

Styles: Various types of Hawaiian and 

Polynesian music. 


MPL MUSIC PUBLISHING 

41 W. 54th St. 


212-246-5881 Fax 212-246-7852 

E-mail: contact@mplcommunications.com 

Web: www.mplcommunications.com 



MURRAY MUSIC GROUP/BUG MUSIC/ 

WINDSWEPT 

PO Box 983 

Goodlettsville, TN 37070 

E-mail: contact@murraymusicgroup.com 

Web: www.murraymusicgroup.com 

Styles: country, rock, pop, R&B, 

Latin, hip-hop 

How to Submit: contact us before 

sending materials 

MUSCLE SHOALS RECORDS / 

FAME MUSIC GROUP 

603 E Avalon Ave 

P.O.Box 2527 

Muscle Shoals, AL 35662 

256-381-0801 

Web: www.fame2.com 

Styles: country, R&B, soul 


material, see web for details 


Nashville Office 

615-383-0350

ONE ON ONE MUSIC CONSULTING SERVICES 

Provided by veteran music industry expert and premier Film & Television 

CALIFORNICATION MUSIC SUPERVISOR 

Nora Felder 

CEO, Picture Music Company, Inc. 

Get the answers you need in today’s world of music placement in Film, Television, 

and Advertising catered to you or your company’s specific goals as a manager, 

publisher, label, songwriter or artist. 

“My vision is to provide realistic tools and strategies to help each 

client achieve their individual goals.” – Nora Felder 

Consultation Services Include (but are not limited to): 

*Demo, Lyric, and Song Evaluations 

*Analysis of music catalogue’s potential for placement 

*Aid in branding and marketing to music buyers 

*Pitch assessment and advice on incoming placement 

requests 

Live video (Skype/AIM) or phone sessions 

can be arranged for 

One on One and/or Groups (Up to 10 Persons) 

Testimonials: 

“Nora’s aid in pinpointing our various artists’ potential has paid off greatly!” 

‐Sven Spieker, Artist Rep, President, Mighty Generation Music 

“Thanks to Nora, our company is on the fast track to becoming a highly successful player in the competitive visual 

placement arena.” 

– Mark Thorsell, Director of Music Licensing, Regime Entertainment 

“With Nora’s help and guidance, we were able to land a key trailer spot” 

– Samantha Kives, President, K‐Tel Records 

“Nora has given me a solid understanding about writing for motion pictures” 

‐Gregory Allen Isakov Singer Songwriter 

For further background on Picture Music Company, Inc. 

www.picturemusiccompany.com 

Hourly Rate: $250.00 (We accept Paypal) 

For additional inquiries regarding weekly or monthly consulting packages and services 

Email: Consults@picturemusiccompany.com 

*Indicate “Consult Inquiry” in email subject heading 

*Please DO NOT send unsolicited music submissions or inquiries for placements. Emails of this nature will be flagged as SPAM. 

Thank you.


MUSIC ROOM PUBLISHING GROUP, 

THE (ASCAP) / MRP MUSIC (BMI) 

525 S. Francisca Ave. 

Redondo Beach, CA 90277 

310-316-4551 

E-mail: mrp@aol.com 

Web: www.musicroomonline.com, 

www.musicroom.us, www.hollywood2you.tv 

Contact: John Reed 

Styles: rock, pop, �lm music 


MUSIC SALES CORPORATION 

257 Park Ave. S 


212-254-2100 

E-mail: barrie.edwards@musicsales.com 

Web: www.musicsales�lmtv.com 



material via mail 


1321 7th St. 


310-393-9900 Fax 310-393-9925 

NEW HEIGHTS ENTERTAINMENT 

New York City 

E-mail: alanmelinan@newheightsent.com 

Web: www.newheightsent.com 




23901 Calabasas Rd. 

Calabasas, CA 91302 

818-225-8466 

NEW WEST MUSIC 

Nashville, TN 

E-mail: Bob@BobBullock.net 

Web: www.bobbullock.net 

Contact: Steven Myers 

Styles: country, pop 


NORTH STAR MEDIA 

12650 Riverside Drive. 

North Hollywood, CA 91607 

818-766-2100 Fax 818-766-2105 

E-mail: info@northstarmedia.com 

Web: www.northstarmedia.com 

Contact: David Brisbols, Director A&R 

How to Submit: unsolicited 


ONLY NEW AGE MUSC (BMI) / LUCID 

DREAMS (ASCAP) 

8033 Sunset Blvd., Ste. 472 


323-851-3355 Fax 323-851-7981 

E-mail: info@newagemusic.com 

Web: www.newagemusic.com 

Contact: Suzanne Doucet 

Styles: new age 


ON THE MANTEL MUSIC 

P.O. Box 111401 


E-mail: hicksjd@aol.com 

Web: www.jamesdeanhicks.com 

Contact: James Dean Hicks 

Styles: country, pop, rock 


ON THE WALL MUSIC 

1021 16th Ave. S. 


615-327-3213 



PEERMUSIC 

901 W. Alameda Ave., Ste. 108 

Burbank, CA 91506 

818-480-7000 

E-mail: losangeles@peermusic.com 

Web: www.peermusic.com 





2397 Shattuck Ave - Ste. 202 

Berkeley, CA 94704 

510-848-7337 

E-mail: sfcorp@peermusic.com 


PEN MUSIC GROUP, INC. 

12456 Ventura Blvd. - Ste 3 

Studio City, CA 91604-2484 

818-766-9200 

E-mail: michael@penmusic.com, 

richard@penmusic.com 

Web: www.penmusic.com 

Contact: Michael Eames, President 


PPL MUSIC PUBLISHING 

GROUP, THE 

468 N. Camden Dr., Ste. 200 


310-860-7499 Fax 310-860-7400 

E-mail: pplzmi@aol.com 

Web: www.pplzmi.com 

Contact: Cheyenne Phoenix 


How to Submit: write for permission, no 

phone calls 

PRIMARY WAVE MUSIC PUBLISHING 

116 East 16th St., 9th Fl. 


212-661-6990 Fax 212-661-8890 

Web: www.primarywavemusic.com 

Styles: rock, pop 


9165 Sunset Blvd., Ste. 200 


310-247-8630 Fax 310-247-8629 

PRISM ESCAPE MUSIC 

Penny Lane Bldg. 

215 E 24th St., Ste. 221 


212-686-0902 

E-mail: prismescape@gagorder.com 

Web: www.gagorder.com 

Contact: George A. Gesner 

Styles: rock, pop, R&B, world, semiclassical, 

new age, alt. country, folk 


material, no rap, metal, avant-garde 

or cabaret 

QUINCY JONES MUSIC PUBLISHING 

6671 Sunset Blvd., Ste. 1574A 


323-957-6601 Fax 323-962-5231 

E-mail: info@quincyjonesmusic.com 

Web: www.quincyjonesmusic.com 

Contact: Marc Carzorla 

Styles: pop, jazz, funk, R&B 


RADAR MUSIC PUBLISHING 

(admined by BMG) 

Burbank, CA 

847-971-0238 

E-mail: limelightmusicent@gmail.com 

Contact: Craig Vinarsky 

Web: www.radarmusic.com 

RAINEYVILLE MUSIC 

315 S. Beverly Dr., Ste. 300 


310-277-4050 Fax 310-557-8421 

E-mail: rrmgmt@aol.com 

Web: www.raineyville.com 

Contact: Ron Rainey 



RBC MUSIC 

1160 Blalock Ste. C 

Houston, TX 77055 

713-647-0800 

E-mail: Charlie@rbcmusic.com 

Web: www.rbcmusic.com 

Styles: concert band, marching band, 

orchestra, choral, piano 


REAL CURES MUSIC 

11900 Metric Blvd. #J-195 

Austin, TX 78758 

512-532-6157 

E-mail: realcures@yahoo.com 

Web: www.realcures.net 

Contact: David Lear 

Styles: Americana, indie rock, alt. country, 

rockabilly, acoustic, folk 


accepted via U.S. mail 

REAL LIFE MUSIC PUBLISHING 

5801 Tee Pee Trace 


615-554-6693 

E-mail: dave@davetough.com 

Web: www.davetough.com 

Styles: pop, hip-hop, country, roots-rock 

Published: Matt Heinecke, Siop, Toni 

Arthur, Cindy Alter, Come & Go. Also 

operate publishing demo studios in 

Nashville and L.A. 

REALSONGS 

6363 W. Sunset Blvd., 8th Fl. 


323-462-1709 

E-mail: jhorton@realsongs.com 

Web: www.realsongs.com 

Styles: pop, R&B, rock, country 

How to Submit: no unsolicited material, 

publishes Diane Warren exclusively and 

does not sign outside songwriters. 

RECORD RAMA 

P.O. BOX 15413 

Pittsburgh, PA 15237 

412-367-7330 

E-mail: curatorpcm@verizon.net 

Web: www.recordrama.com 

Contact: Paul Mawhinnie 



RED RIVER SONGS (BMI) 

225 Vaughns Gap Rd. 


615-915-2922 

E-mail: robertweedman@comcast.net 

Web: www.johnnybondpub.com 


How to Submit: please contact �rst 

ROBBINS ENTERTAINMENT 

35 Worth St, 4th Fl. 


Fax: 212-675-4441 

E-mail: info@robbinsent.com 

Web: www.robbinsent.com 

Contact: Anne Amann 

Styles: Dance 


material, see “demos” section on 

web for full details 

RONDOR MUSIC INT’L, INC. 

See Universal Music Publishing Group 

2100 Colorado Ave. 


310-235-4800 


Published: Will Jennings, Garbage, Avril 

Lavigne, Bobby Valentino and 

Twista, and more 


ROYALTY NETWORK, INC., THE 

224 W. 30th St., Ste. 1007 


212-967-4300 Fax 818-762-1652 

E-mail: kathy@roynet.com 

Web: www.roynet.com 

Contact: Marshall Murphy 


Published: M.O.P., Kelly Price, Dead Prez, 

Muggs (Cypress Hill), VHS or Beta 

How to Submit: please contact prior 

to submitting 


12650 Riverside Dr. - Ste. 203 

Valley Village, CA 91607 

818-762-0775 

E-mail: michele@roynet.com 

Contact: Michele Ito 

RUMBLEFISH 

107 SE Washington St., Ste. 700 

Portland, OR 97214 

800-293-9102 503-248-0706 

E-mail: info@rumble�sh.com 

Web: www.rumble�sh.com, 

www.musiclicensingstore.com 

Contact: Whitney Jones 



material. See musiclicensingstore.com for 

submissions 

RYAN’S SONGS (ASCAP) / VAN GOGH’S 

EAR MUSIC (BMI) 


Tarzana, CA 91356 

818-702-9902 Fax 818-702-9948 

Contact: Tom Hayden 



SCHOTT MUSIC CORP. & EUROPEAN 

AMERICAN MUSIC DIST. 

254 W 31st. St., 15th Fl. 


212-461-6940 

E-mail:info@eamdc.com 

Web: www.eamdllc.com 

Contact: Norman Ryan 

Styles: Classical, Pop 


SECOND FLOOR MUSIC 

130 W 28th St., 2nd Fl. 


212-741-1175 

E-mail: orders@jazzleadsheets.com 

Web: www.second�oormusic.com, 

www.jazzleadsheets.com 

Styles: Jazz 

How to Submit: Call or e-mail �rst 

SEPTEMBER MUSIC 

810 7th Ave., #36 


212-581-1338 

E-mail: septembermusic@verizon.net 

Contact: Stanley Mills 

Styles: standards, novelties 


SHAPIRO, BERNSTEIN & CO. 

488 Madison Ave., 12th Fl. 

New York, NY 10022-5718 

212-588-0878 Fax 212-588-0620 

Web: www.shapirobernstein.com 



SHELLY BAY MUSIC 

423 Mountainview Road 

Englewood, NJ 07631 

201-227-6126 

E-mail: michelle@shellybay.com 

Web: www.shellybay.com 

Contact: Michelle Bayer 

Styles: pop, rock, Americana, hip-hop 


SILVER BLUE MUSIC / 

OCEANS BLUE MUSIC 

3940 Laurel Canyon Blvd., Ste. 441 


818-980-9588 

E-mail: jdiamond20@aol.com 

Web: www.joeldiamond.com 

Contact: Joel Diamond 

Styles: pop, R&B 


accepted, does not return materials. 

SIMPLY GRAND MUSIC, INC 

P.O. Box 770208 

Memphis, TN 38177-0208 

901-763-4787 Fax 901-763-4883 

Email: linda@simplygrandmusic.com 

Web: www.simplygrandmusic.com 

Styles: All Genres Welcome 

Published: Elvis Presley, Jerry Lee Lewis, 

Etta James, Leela James, George Jackson, 

The Ovations, Barbara & the Browns 

How to Submit: Please email for 

permission to submit 

SKYVIEW MUSIC CORP. (ASCAP) 

Anton Music Corp. (ASCAP) / Leslie Music 

Corp. (ASCAP) / Neil Music Corp. 

(BMI) / Benton Music Corp. (BMI) 

1405 N. Avon 


323-655-5006, 818-566-8900 

Fax 323-655-5233 

E-mail: gnp@paci�cnet.net 

Web: www.gnpcrescendo.com 

Styles: all styles except classical and rap 


SONG GARDEN MUSIC GROUP 

1622 16th Ave. S., Ste. 300 


615-385-4166 

E-mail: david@songgardenmusicgroup.com 

Web: www.songgardenmusicgroup.com 

Styles: all styles of country


SONGS FOR THE PLANET 

P.O. Box 40251 


615-269-8682 

E-mail: songclearance@songsfortheplanet.com 

Web: www.songsfortheplanet.com 

Styles: rock & roll, reggae, R&B, alt. 

How to Submit: see web for submissions guidelines 

SONGS PUBLISHING 

307 7th Ave., Ste. 2104 


212-255-6800 Fax 212-255-6878 

E-mail: info@songspub.com 

Web: www.songspub.com 

Contact: Ron Perry, Sr. Creative - A&R 


7656 Sunset Blvd. 


323-939-3511 Fax 310-872-5027 

SONY/ATV MUSIC PUBLISHING 



310-441-1300 

E-mail: info@sonyatv.com 

Web: www.sonyatv.com 

Contact: Wendy Crowley, VP, Television and Film 

Styles: pop, R&B, rock, dance 

Published: Steve Dorff, Bjork, Puff Johnson, 

Crystal Waters, Marvin Hamlisch, etc. 





212-833-7730 

8 Music Sq. W. 


615-726-8300 Fax 615-726-8329 

Contact: Marc Wood, Sr. Directory, 

Marketing/Advertising 

1111 Lincoln Rd. - Ste. 803 


305-532-3361 Fax 305-532-9467 

Contact: Amy Roland 

SOUND IMAGE MUSIC 

15462 Cabrito Rd. 

Van Nuys, CA 91406 

805-231-5728 

E-mail: sound_image@msn.com 

Web: www.soundimage.us 

Contact: Marty Eberhardt, Jim Crichton 



SOUND OASIS PRODUCTIONS, LLC 

1251 W. Sepulveda Blvd., Ste. 107 

Torrance, CA 90502 

310-544-9464 Fax 310-544-7765 

E-mail: soundoasis@cox.net 

Contact: Valerie Jones 



SPIRIT MUSIC GROUP 

235 W. 23rd St.. 4th FL 


212-533-7672, Fax 212-979-8566 

E-mail: info@spiritmusicgroup.com 

Web: www.spiritmusicgroup.com 



SPRUILL HOUSE MUSIC 

PUBLISHING, INC. 

P.O. Box 92751 

Pasadena, CA 91109-2751 

626-797-2429 

E-mail: spruilhous@aol.com 

Web: www.spruillhousemusic.com 

Contact: Stephanie Spruill 


STAGE 3 MUSIC 

5759 Wallis Ln. 


818-704-8657 Fax 818-704-8671 

E-mail: info@stage3music.com 

Web: www.stage3music.com 

Styles: all 


SUPREME ENTERPRISES INTL. 

CORP. /FUERTE SUERTE MUSIC 

P.O. Box 1373 

Agoura Hills, CA 91376 

818-707-3481 Ext. 5 

E-mail: seicorp@earthlink.net 

Web: www.raggaforce.com, 

www.fuertesuertemusic.com 

Styles: Latin pop, trance, dance, Spanish/English reggae 

How to Submit: unsolicited material accepted, no phone calls, 

include e-mail for response, material must be copyrighted. 

SYMBIOTIC MUSIC PUBLISHING 

P.O. Box 88456 


424-245-0416 

E-mail: smp@symbioticmusicpublishing.com 

Web: www.symbioticmusicpublishing.com 

Contact: Eric Knight 

Styles: All 

Clients: Ignacio Val, Eric Knight 

Services: Music Publishing, Music Library 

How to Submit: Accepts unsolicited material, email links 

only, no phone calls. 

TELE-CINEMA 

2 Topside Lane 

Newton, CT 06470-2023 

203-426-3350 


How to Submit: call before sending material 

TEN TEN MUSIC GROUP 

33 Music Sq. W., Ste. 110 


615-255-9955 Fax 615-255-1209 

E-mail: music@tentenmusic.com 

Web: www.tentenmusic.com 



TESSALOU MUSIC 

P.O. Box 292511 

THE GRAMMY MUSEUM® AT L.A. LIVE PRESENTS 

Celebrating the Musical 

Legacy of Whitney Houston 

ON DISPLAY THRU FEBRUARY 24, 2013 

On display September 18, 2012 – September 2013 

800 West Olympic Blvd., Los Angeles, CA 90015 

Mon-Fri 11:30AM – 7:30PM, Sat-Sun 10AM – 7:30PM 

For more information, go to WWW.GRAMMYMUSEUM.ORG 

GRAMMY Museum ® and the Museum logo are registered trademarks of the 

Recording Academy ® and are used under license. 

7388_GR_GRAMMY Museum_Whitney & Beach Boys Ad_4.875x7.375_FNL.indd 1 9/18/12 1:23 PM 




615-361-7902 

E-mail: info@entertainernet.net 

Web: www.entertainernet.net 

Styles: country, folk, pop, gospel, 

bluegrass, rock, big band, Christian, R&B 

How to Submit: send unsolicited materials: 

PO Box 17059, Nashville, TN 37217 

TRANSITION MUSIC CORP. 

P.O. Box 2586 


323-860-7074 Fax 323-860-7986 

E-mail: submissions@transitionmusic.com, 

licensing@transitionmusic.com 

Web: www.transitionmusic.com 

Contact: New Submissions Dept. 

Published: 1000’s of titles 


accepted, no more than three songs per 

submission, no tapes - CD’s or �ash drives 

accepted 

TRINITY MUSIC 

4042 N. Pulaski Rd. 


773-282-4800 

E-mail: trinitymus@aol.com 

Web: www.jbm1.com 

Contact: Dougie Thomson 

Styles: Pop, Rock 

How to Submit: contact before 

sending material. 

UNIVERSAL MUSIC 

PUBLISHING GROUP (UMPG) 

2100 Colorado Ave. 


310-235-4700 Fax 310-235-4900 

Web: www.umusicpub.com 

Published: 3 Doors Down, 50 Cent, 

ABBA, Christina Aguilera, Beastie Boys, 

Mary J. Blige, Bon Jovi, Mariah Carey, 

Chemical Brothers, The Clash, Coldplay, 

Elvis Costello, The Cure, Daughtry, Gloria 

and Emilio Estefan, Franz Ferdinand, Juan 

Gabriel, Robin and Maurice Gibb (Bee 

Gees), Dave Grohl (Foo Fighters), Elton 

John, Keane, The Killers, Linkin Park, 


Maroon 5, Brian McKnight, Ne-Yo, Prince, 

The Sex Pistols, Paul Simon, Britney 

Spears, Bernie Taupin, Justin Timberlake, 

T-Pain, U2, Keith Urban, and the catalogs 

of Henry Mancini and Leonard 

Bernstein, more. 



1755 Broadway, 3rd Fl. 


212-841-8156 Fax 212-841-8072 


1904 Adelicia St. 


615-340-5400 Fax 615-340- 5491 

E-mail: kent.earls@umusic.com 

Contact: Kent Earls, Exec. VP/GM 


1425 Collins Ave. 


305-604-1380 Fax 305-604-1343 

E-mail: Fernando.Rojo@umusic.com 

Contact: Fernando Rojo, Sr. Dir., 

Creative/New Business 


URBAND & LAZAR MUSIC PUBLISHING 

1617 Cosmo St., Ste. 411 


323-230-6592 

E-mail: license@urbandlazar.com 

Web: www.urbandlazar.com 

Contact: Jonathan Lazar 

Styles: indie rock, alt., s/s, dub, pop 


material, send press/recordings Attn: 

Submissions. Do not call. 

VAAM MUSIC GROUP 

P.O. Box 29550 


323-664-7765 

E-mail: request@vaammusic.com 

Web: www.vaammusic.com 

Contact: Pete Martin 

Styles: pop, country, R&B, Top 40, �lm music 


accepted 

VINEYARD MUSIC 

405 S. State College Blvd. Ste. 202 

Brea, CA 92821 

714-769-9076 

E-mail: info@vineyardmusic.com 

Web: www.vineyardmusic.com 

Styles: CCM 


WARNER/CHAPPELL MUSIC 

10585 Santa Monica Blvd. 


310-441-8600 

Web: www.warnerchappell.com 


Published: Green Day, Hoobastank, 

Sheryl Crow, Radiohead, Missy Elliott and 

more 



75 Rockefeller Plaza 


212-275-3100 Fax 212-275-3141 ј 




615-733-1880 Fax 615-733-1885 


WESTERN BEAT MUSIC 

P.O. Box 128105 


615-665-8772 





WILLIAMSON MUSIC 

229 W. 28th St., 11th Floor 


212-541-6968 Fax 212-489-6637 

DO YOU WANT TO BE ON 

THE 1st PAGE OF 

? 

We’ll SHOW you how 

to get there for $249 

FREE for Readers 

FREE WEBSITE TRAFFIC ANALYSIS 

951-777-2508 

SCAN OR CALL 

Men�on “MUSIC CONNECTION” 

E-mail: williamson@rnh.com 

Web: www.rnh.com 

Styles: Show Tunes, Concert, Pop 


WINDSWEPT HOLDING LLC/BUG MUSIC 



323-969-0988 

Web: www.bugmusic.com 


Published: see website for info 


WINETHIRTY MUSIC PUBLISHING 

A new division of Evolution Promotion 

7 Arlene Ave. 

Wilmington, MA 01887 

978-658-3357 

E-mail: info@evolutionpromotion.com 

Web: www.evolutionpromotion.com 

Contact: Karen Lee, President, Karen 

Doran, GM 

Styles: concentrates on music placements 

in Film/TV, commercials, video games, web 

Published: boutique publisher representing 

the works of a choice few independent 

artists and composers including: Asaf 

Avidan, Miles of Wire, Rogue State, Dolom 

Zero, Aquarius Minded 

How to Submit: e-mail us a link 

where we can listen 

WIXEN MUSIC PUBLISHING INC. 

24025 Park Sorrento, Ste. 130 

Calabasas, CA 91302 

818 591-7355 Fax 818 591-7178 

Contact: Randall Wixen 

Web: www.wixenmusic.com 

How to Submit: call for more info 

WORD MUSIC PUBLISHING 

25 Music Sq. W. 


615-687-6780 

E-mail: info@wordmusic.com 

Web: www.wordrecords.com 

Styles: CCM 

WE’LL MAKE YOU A 

ROCKSTAR ON GOOGLE 

www.localmarke�ngauthority.com



Christian arm of Warner Brothers 

YMC RECORDS 

P.O. Box 7809 

Dallas, TX 75209 

E-mail: info@ccentertainment.com 

Web: www.wdmg.com 

www.ymcrecords.com, www.ymctv.com 

Contact: Gina Morrison 

Organizations 

AFM & AFTRA INTELLECTUAL PROPERTY 

RIGHTS DISTRIBUTION FUND 

12001 Ventura Pl., 5th Fl. 


818-755-7777 Fax 818-755-7778 

E-mail: customerservice@fmsmf.org 

Web: www.fmsmf.org 

ASCAP (AMERICAN SOCIETY 

OF COMPOSERS, AUTHORS 

AND PUBLISHERS) 

7920 Sunset Blvd., 3rd Fl. S 


323-883-1000 Fax 323-883-1049 

E-mail: info@ascap.com 

Web: www.ascap.com 



One Lincoln Plaza 


212-621-6000 Fax 212-724-9064 

950 Joseph E. Lowery Blvd, NW, 

Ste. 23 


404-685-8699, 

Fax 404-685-8701 

Two Music Sq. W. 


615-742-5000 Fax 615-742-5020 

420 Lincoln Rd., Ste. 385 


305-673-3446 Fax 305-673-2446 

Ave. Martinez Nadal 

c/ Hill Side 623 

San Juan, PR 00920 

787-707-0782 Fax 787-707-0783 

8 Cork St. 

London W1S3L1 

011-44-207-439-0909 

Fax 011-44-207-434-0073 

ASSOCIATION OF INDEPENDENT 

MUSIC PUBLISHERS (AIMP) 

P.O. Box 69473 


818-771-7301 

E-mail: lainfo@aimp.org 

Web: www.aimp.org 


805 Third Ave., Ste. 1002 


866-594-6705 

E-mail: nyinfo@aimp.org 

2 Music Circle South, Suite 212 


615-613-1323 

E-mail: NAinfo@aimp.org 

BMI (BROADCAST MUSIC INC.) 

8730 Sunset Blvd., 3rd Fl. W. 


310-659-9109 

E-mail: losangeles@bmi.com 

Web: www.bmi.com 



7 World Trade Center 

New York, NY 10007-0030 

212-220-3000 

E-mail: newyork@bmi.com 



615-401-2000 

E-mail: nashville@bmi.com 

1691 Michigan Ave., Ste. 350 


305-673-5148 

3340 Peachtree Rd., NE, Ste. 570 


404-261-5151 

1250 Ave. Ponce de Leon 

San Jose Building, Ste. 1008 

Santurce, PR 00907 

787-754-6490 

84 Harley House 

Marylebone Rd. 

London NW1 5HN 

U.K. 

011-44-20-7486-2036 

E-mail: london@bmi.com 

CALIFORNIA COPYRIGHT CONFERENCE (CCC) 

P.O. Box 57962 


818-379-3312 

E-mail: attn@theccc.org 

Web: www.theccc.org 

CHURCH MUSIC PUBLISHERS ASSOCIATION (CMPA) 

P.O. Box 158992 


615-791-0273 Fax 615-790-8847 

Web: cmpamusic.org 

HARRY FOX AGENCY, INC., THE (HFA) 

40 Wall Street - 6th Floor 


212-834-0100 Fax 646-487-6779 

Web: www.harryfox.com 

NATIONAL MUSIC PUBLISHERS 

ASSOCIATION (NMPA) 

101 Constitution Ave. NW, Ste. 705 E. 

Washington, DC 20001 

202-742-4375 

Web: www.nmpa.org 

SESAC 



615-320-0055 Fax 615-321-6292 

Web: www.sesac.com 



6100 Wilshire Blvd. Ste 700 


323-937-3722 Fax 323-937-3733 

152 W. 57th St., 57th Fl. 


212-586-3450 Fax 212-489-5699 

981 Joseph E. Lowery Blvd. N.W., 

Ste. 102 


404-897-1330 

420 Lincoln Rd. Ste 502 

Miami, FL 33139 

305-534-7500 

67 Upper Berkeley St. 

London W1H 7QX 

England 

020 7616 9284 Fax 020 7563 7029 

SOUND EXCHANGE, INC. 

733 10th Street, NW, 10th F. 

Washington, D.C. 20001 

202-640-5858 

Web: Soundexchange.com 

E-mail: info@soundexchange.com 

U.S. COPYRIGHT OFFICE 

101 Independence Ave. S.E. 

Washington, D.C. 20559-6000 

202-707-5959, 1-877-476-0778 (toll free) 

Web: www.copyright.gov 

Download and print this directory 

FREE from our website at: 

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(800) 233-8346 · (714) 897-6766 


12 th Annual Directory of Film/TV 

Music Supervisors & Post-Production 


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


This exclusive Music Connection list can hook you up with professionals who place songs in �lms, TV shows 

and games, and also with facilities geared to �lm/TV post-production services. 

Music Supervisors 

5 ALARM MUSIC 

35 W. Dayton St. 

Pasadena, CA 

626-304-1698, 800-322-7879 

E-mail: jd@5alarmmusic.com 

Web: www.5alarmmusic.com, 

www.5alarmmusicsearch.com 

How to Submit: E-mail or phone 


229 W. 28th St., 11th Fl. 


212-699-6539 

35 SOUND 

P.O. Box 217 

Paci�c Palisades, CA 90272 

310-454-1280 Fax 310-454-3443 

E-mail: gmarq@35sound.com 

Web: www.35sound.com 

Music Supervisors: G. Marq Roswell, 

Carter LIttle 

Credits: The Great Debaters, Man With 

The Iron Fists, Half The Sky, Birth Story 


ABBEY ENTERTAINMENT 

530 S. Lake Ave. 


818-755-3942 

E-mail: abbeyent@aol.com 

Contact: Stephen Elvis Smith, 

music supervisor 

Credits: Decline of Western Civilization, 

Square Pegs, A Different World, Pump 

Up the Volume, Beverly Hillbillies Movie, 

Committed, But I’m A Cheerleader, Original 

Manager of Lenny Kravitz 


accepted, no phone calls 

AIR-EDEL USA 

8687 Melrose Ave. 9th Fl. 


310-967-2380 

E-mail: mark.thomas@air-edel.co.uk 

Web: www.airedel.com 

Contact: Mark Thomas 

Credits: see web 

How to Submit: Does not accept 

unsolicited composer submissions 


18 Rodmarton St. 

London, W1U 8BJ 

Tel: +44 (0)20 7486 6466 

ARLENE FISHBACH ENTERPRISES 



310-451-5916 

E-mail: afent2@gmail.com 

Contact: Arlene Fishbach 

Credits: features, feature trailers & promos 


AUDIO MOTION MUSIC 

Saint Augustine, FL 

904-669-8905 

Contact: Jim Laquidara, Music Supervisor 

AVATAR DIGI 

2029 Hyperion Ave. 



323-906-1500 

E-mail: info@avatardigi.com 

Web: www.avatardigi.com 

Credits: MTV, CBS, Paramount, Sony, 

Warner, Apple iTunes, Microsoft, Amazon, 

Rhapsody 

How to Submit: accepts CDs 

only, no MP3s 

BATES MEYER INC. 

P.O. Box 2821 

Big Bear Lake, CA 92315 

909-547-0504 Fax 909-547-0901 

E-mail: info@batesmeyer.com 

Web: www.batesmeyer.com 

Contact: Rick Bates and Nancy Meyer 

BIG SOUNDS INTERNATIONAL 

P.O. Box 48258 


323-954-0274 Fax 323-954-0277 

E-mail: info@bigsoundsintl.com 

Web: www.bigsoundsintl.com 

Music Supervisor: Jonathan Hafter 

How to Submit: no unsolicited 


BILLY BLOCK MUSIC 

P.O. Box 128105 


615-665-8772 





BLINDLIGHT 



323-337-9090 

E-mail: info@blindlight.com 

Web: www.blindlightmedia.com 

Comments: complete music supervision 

and productions services exclusively 

for video games. 


BREWMAN MUSIC & ENTERTAINMENT 

1337 Talmadge St. 


310-318-4104 

E-mail: infowest@bmemusic.com 

Web: www.bmemusic.com 

Contact: Alan Brewer 



808 19th Ave., S. 


E-mail: info@BMEmusic.com 

BROOKE WENTZ 

THE RIGHTS WORKSHOP 

39 Mesa St., Ste. 101 

San Francisco, CA 94129 

415-561-3333 Fax 415-561-3334 

E-mail: info@rightsworkshop.com 

Web: www.rightsworkshop.com 

Contact: Brooke Wentz 

Comments: Music director for ESPN, 

TechTV, Time’s Square Millennium 

Celebration, award-winning soundtrack 

producer; extensive music and IP rights 

experience. MBA. 


BULLETPROOF RECORDS 

E-mail: ralph@bulletproof 

entertainment.com 

Web: www.bulletproofrecords.com 

Contact: Ralph Sall 

CHICAGO MUSIC LIBRARY 


Encino, CA 91316 

818-906-3988 Fax 818-789-5801 

E-mail: info@chicagomusiclibrary.com 

Web: www.chicagomusiclibrary.com 

Contact; Nick Castelli 

Credits: Warner Brothers, Paramount, 

Deluxe Laborites, Technicolor etc. 


before sending CDs 

CHOP SHOP MUSIC SUPERVISION 

So. Pasadena, CA 

E-mail: info@chopshoprecords.com 

Web: chopshopmusic.com 

Contact: Alexandra Patsavas 

Credits: John Tucker Must Die, The 

Invisible, Gossip Girl, Grey’s Anatomy, 

Chuck, Private Practice, Mad Men, Rescue 

Me, Without A Trace, Supernatural, 

Num3ers 


CINECALL SOUNDTRACKS 

24 Mechanic St., Ste. E 

Red Bank, NJ 07701 

732-450-8882 

E-mail: mail@cinecall.com 

Web: www.cinecall.com 

Contact: George McMorrow 


CLEARSONGS 

244 5th Ave. Ste. 2262 


212-627-8767 Fax 646-349-1110 

E-mail: jim@clearsongs.com 

Web: www.clearsongs.com 

Contact: Jim Black 

Credits: HBO, Artisan, Lion’s Gate, October 

Films, USA Films, Oxygen Music Works, 

Miramax, Columbia, Searchlight 



8240 Beverly Blvd., Ste. 15 


323-419-3898 Fax 646-349-1110 

Contact: Gabe Hilfer 

E-mail: gabe@clearsongs.com 

CODA MUSIC SERVICES 

17345 Marlin Place 

Lake Balboa, CA 91406 

818-342-5496 Fax 818-757-3992 

E-mail: margaret@codamusicservices.com 

Web: www.codamusicservices.com 

Music Supervisors: Margaret Guerra 

Rogers, Kelly Bennett 

Credits: Real Women Have Curves, Price 

of Glory, Tortilla Heaven, For Love or 

Country, etc. 


CREATIVE CONTROL 

3427 Overland Ave. 


E-mail: info@creativecontrolent.com 

Web: www.creativecontrolent.com 

Contact: Joel C. High 

How to Submit: e-mail before sending 

material 

CUE HITS 

c/o ACM Records, Inc. 

P.O. Box 195 

Fair Lawn, NJ 07410 

E-mail: info@cuehits.com 

Web: www.cuehits.com 

How to Submit: email for information on 

licensing and rates 

DANCING MICE PRODUCTIONS 

CLEARANCE 

1234 Delaware Ave. 

Buffalo, NY 14209 

716-885-3030 Fax 7160-885-4040 

E-mail: scott@dancingmice.net 

Web: www.dancingmice.net 

Contact: Scottpatrick Sellitto 

Credits: Miami Vice, Ultraviolet, Eight 

Below, 3 Needles, Tesseract, Head In The 

Clouds, Dom, Tart, Ms. Globe Pageant 2001 

How to Submit: Please send product for 

review along with bio and any additional 

information you may feel would be helpful in 

the review process to our US Headquarters. 

Do not call or email. We will contact you if 

we are interested. 

DAUMAN MUSIC 

310-275-0701 

E-mail: jason@daumanmusic.com 

Web: www.daumanmusic.com 


accepted 

DAVID QUAN 

Director, Music Services 

NBC Universal 

100 Universal City Plaza 

Universal City, CA 91608 

818-777-0048 

Web: www.nbcuni.com 


DEIRDRE O’HARA 

1 Christopher St., Ste. 2A 


212-243-8955 Fax 212-691-4395 

E-mail: dohara@aol.com 

Contact: Deirdre O’Hara 


DE ROCHE MUSIC 

17153 Rayen St. 

Northridge, CA 91325 

818-886-5262 

E-mail: Ross@deRocheMusic.com 

Web: www.derochemusic.com 

Contact: Ross De Roche 

Credits: My Sweet Ex Girlfriend, Mr. & Mrs. 

Smith, Ghosts of Girlfriends Past, Just Like 

Heaven, Failure to Launch, Watchmen, 

Video Games Live 


DESERT C.A.M STUDIOS, INC. 

79525 Via Sin Cuidado 

La Quinta, CA 92253-3631 

760-972-4559 877-977-DCAM 

E-mail: Chip@DesertCAM.com 

Contacts: Chip Miller, Susie Travis, Hagai 

Amir, Janaki Jennings 

How to Submit: Unsolicited material 

accepted in CD or DVD format only - no 

e-cards



Winmill Films LLC 

54180 Avenida Rubio 

La Quinta, CA 92253-3631 

760-972-4443, 877-977-WIMILL, 

818-795-4235 

E-mail: Chip@DesertCAM.com, 

pogmothon@dc.rr.com 

Web: www.DesertCAM.com 

Contact: Chip Miller, Susie Travis, 

Daniel Pomeroy 

D. FRANCO INTERNATIONAL 

MUSIC PRODUCTIONS 

4342 Redwood Ave., Ste. 310 

Marina Del Rey, CA 90292 

310-823-5547 Fax 310-821-0707 

E-mail: d�ntlprod@aol.com 

Contact: David Franco, President / 

Music Producer 

How to Submit: call before 

submitting material 

DILBECK ENTERTAINMENT 

5855 Greenvalley Cir., Ste. 310 

Culver City, CA 90230 

310-670-0704 

E-mail: md90230@aol.com 

Contact: Michael Dilbeck 


DONDI BASTONE 

409 N. Cordova St. 


818-558-7707 Fax 818-558-7594 

Web: www.dondibastone.com 

Credits: Election, The Crew, The 

Descendants, more 


accepted 

DON GRIERSON 

Web: www.dongrierson.com 

Contact: Don Grierson 

How to Submit: contact �rst before 

submitting material, see website 

EMOTO MUSIC 

1615 16th St. 


310-399-6900 

E-mail: lindsay@emotomusic.com 

Web: www.emotomusic.com 

Contact: Lindsay Froemke 

Comments: work with various �lmmakers 



Midwest 

310-399-6900 

Contact: Paul Schultz 

E-mail: paul@emotomusic.com 

East Coast 

New York, NY 

212-447-9880 

Contact: Maggie Klein 

FEEDBACK! MUSIC SUPERVISION 

818-275-4367 

Web: www.brucerabinowitz.com 

E-mail: bruce@brucerabinowitz.com 

Contact: Bruce Rabinowitz 

How to Submit: via e-mail 

FILM MUSICIANS SECONDARY 

MARKETS FUND 

12001 Ventura Pl. 5th Fl. 


818-755-7777 Fax 818-755-7778 

E-mail: participantservices@fmsmf.org 

Web: www.fmsmf.org 

FIRSTCOM MUSIC 

1325 Capital Pkwy., Ste. 109 


800-858-8880 

E-mail: info@�rstcom.com 

Web: www.�rstcom.com 

Credits: America’s Most Wanted, C.S.I., 

Good Morning America, Dancing With The 

Stars, Bad Girls, Club, Six Feet Under, 

Moonlight, Ugly Betty, The View, Iron Man, Get 

Smart, National Treasure: Book of Secrets 



2110 Colorado Ave., Ste. 110 


800-778-1574, 310-865-4477 

FORD MUSIC SERVICES 

530 S. Hewitt St. #542 


323-939-2955 Fax 323-939-2951 

E-mail: artfordmusic@yahoo.com 

Contact: Art Ford 

Comments: Ford Music Services is one 

of the largest independent �lm & TV music 

companies in the US. They represent 

labels, publishers, artists, songwriters and 

music catalogs to �lm, television and the 

advertising community for placements. 

FUSION MUSIC SUPERVISION 

E-mail: submissions@ 

fusionmusicsupervision.com 

Web: www.fusionmusicsupervision.com 

Contact: Christopher T. Mollere 

GEORGE ACOGNY, INC. 

818-713-0660 

E-mail: sessiwede@aol.com 

Contact: George Acogny 


GERRY GERSHMAN MUSIC 

SUPERVISION 

322 S. Topanga Canyon Blvd. 

Topanga, CA 90290 

310-570-0070 

E-mail: invisible�lms@earthlink.net 

Contact: Gerry Gershman 

How to Submit: accepts CDs and internet 

links for downloads. 

GOODNIGHT KISS MUSIC 

10153 1/2 Riverside Dr., Ste. 239 


808-331-0707 

Web: www.goodnightkiss.com 

E-mail: Prosongwriter@aol.com 

Contact: Janet Fisher 

Credits: HBO, Showtime, NBC 

How to Submit: please see web 

GOTHAM MUSIC PLACEMENT 

P.O. Box 7185 


Attn: Submissions 

E-mail: info@gothamrecords.com 

Web: www.gothamrecords.com 

Contact: Patrick Arn 

How to Submit: see website 

HAIKU ENTERTAINMENT 

E-mail: haikuent@aol.com 

Contact: Jonathan Weiss 

Comments: Music supervisor for The Real 

World Challenge, Keeping Up With The 

Kardashians, Love Games 

How to Submit: email request for 

submission 

HEAR IT - CLEAR IT MUSIC 

SUPERVISION 

P.O. Box 2348 

Round Rock, TX 78680-2348 

512-913-8594 Fax 512-233-2590 

E-mail: dominique@hearitclearit.com 

Web: www.hearitclearit.com 

Contact: Dominique Preyer 

IDM MUSIC 

111 E. 14th St., Ste. 140 


212-695-3911 

E-mail: info@idmmusic.com 

Web: www.idmmusic.com 

Comments: Music licensing and music 

clearance, music representation; master & 

publishing, music supervision, catalogue 



and copyright admin. 

Credits: ABC, BBDO, CBS, Disney, Fox, 

HBO, MTV, Showtime, Grey Worldwide, 

NBC - check site for full list. 


IMC ENTERTAINMENT GROUP 

19360 Rinaldi St., Ste. 217 

Porter Ranch, CA 91326 

818-700-9655 

E-mail: sr@imcentertainment.com 

Contact: Sylvester Rivers 

Web: www.SylvesterRivers.com 

818-700-9655 Fax 206-203-1010 

Music Supervisors: Sylvester Rivers, Paul 

Riser 

INAUDIBLE 



818-385-3400 Fax 818-385-3456 

E-mail: info@inaudibleprod.com 

Web: www.inaudibleprod.com 

Music Supervisors: Peter Afterman, 

Margaret Yen 


INDY HITS MUSIC 

P.O. Box 4102 


323-276-1000 

E-mail: mgalaxy@bandpromote.com 

Web: www.indyhits.com 

Contact: Mike Galaxy 

Credits: see IMDB.com for credits 


inquiries through website 

JANICE GINSBERG & ASSOCIATES 

280 Riverside Dr., Ste. 12L 


212-865-8044 

E-mail: jginsberg@aol.com, chrystye@ 

gmail.com 

Contact: Janice Ginsberg, Christie Allen 



JODY FRIEDMAN 

Southern California 

Lake Forest, CA 92630 

949-916-8368 

E-mail: music@HDMusic.com 

Web: www.jodyfriedman.com 

Contact: Jody Friedman 

How to Submit: We are currently not 

accepting unsolicited submissions 

JONATHAN LAZAR 

Urban & Lazar 

1617 Cosmo St., Ste. 310 

Los Angeles, CA, 90028 

E-mail: license@urbandlazar.com 

Web: www.Urbandlazar.com 


LUCKY DUCK MUSIC 


E-mail: jenpyken@luckyduckmusic.net 

Web: www.luckyduckmusic.net 

Contact: Jennifer Pyken 

Credits: Workaholics, Outlaw, Las Vegas, 

Knight Rider, Lost, Smallville, Alias, Felicity, 


LUKE HITS, LLC 

137 N. Larchmont Blvd., Ste. 555 


310-236-5853 

E-mail: writelukehits@yahoo.com 

Web: www.lukehits.com 

How to Submit: accepts via mail 

MACHINE HEAD 

1641 20th St. 


310-392-8393, 310-500-9834 

E-mail: patty@machinehead.com 

Web: www.machinehead.com 

Contact: Patty Chow 

Credits: New Line Films, Lions Gate Films, 

Ogilvy & Mather, TBWA Chiat Day, THQ, 

The Matrix Video Game 


MAR TUNE MUSIC 

P.O. Box 416 


626-441-0400 

E-mail: inquiry@martunemusic.com 

Web: http://martunemusic.com 

MEDIA CREATURE MUSIC 

4470 W. Sunset Blvd., Ste. 107-500 


323-468-8888 

Contact: Sharal Churchill 


material 

MICHAEL WELSH PRODUCTIONS 

2215 Lambert Dr. 


626-796-7821 Fax 626-796-0847 

E-mail: info@michaelwelshprods.com 

Web: www.michaelwelshprods.com 

Contact: Michael Welsh, Maya Halfon 

Comments: Music searches and 

clearances. 

Credits: Macy’s, Gap, American Eagle 

Out�tters, DKNY, FedEx, Old Navy, 

Mitsubishi, Ford, Banana Republic, 

Yahoo, Nokia, Chivas Regal, Payless 

Shoes 


MIKE FLICKER MUSIC SERVICES 

Burbank, CA 

Web: www.mike�icker.com 

Contact: Mike Flicker 

Music Supervisors: Mike Flicker, CEO 

Credits: Viacom, 20th Century Fox, 

Showtime, Granada Entertainment, WB, ABC 


MOLLURA MUSIC SERVICES 


818-687-0745 

Web: www.michaelmolluramusic.com 

E-mail: michael@michaelmollura 

music.com 

Contact: Michael Mollura 

Comments: specializes in “World Music” 

(India, yogic, new age) and alternative rock. 

Michael Mollura has composed the scores 

and music supervised the music for several 

feature �lms including HBO’s Hot Coffee, 

award winning �lms Reconciliation, Climate 

Refugees and The Highest Pass with songs 

written and composed by Mollura and Jon 

Anderson. 

Music Supervisor/Composer: Michael 

Mollura 

How to Submit: send e-mail to michael@ 

michaelmolluramusic.com 

MUSIC BRIDGE LLC, THE 

P.O. Box 661918 


310-398-9650 Fax 310-398-4850 

E-mail: david@themusicbridge.com 

Web: www.themusicbridge.com 

Contact: David G. Powell, President 


MUSIC ORANGE 

1 Icehouse Alley 


415-398-6264 

E-mail: michael@musicorange.com 

Web: http://musicorange.com 

Contact: Michael Lande 

MUSIC SALES WEST 

1247 6th St. 


310-393-9900 

E-mail: info@musicsales.com 

Web: www.musicsales.com 





212-254-2100


14-15 Berners St. 

London W1T 3LJ, UK 

+44 20 7612 7400 

E-mail: music@musicsales.co.uk 

MUSIC WITHOUT BORDERS (MWB) 

159 Fishing Trail 

Stamford, CT 06903 

203-769-5573 Fax 203-769-5574 

E-mail: steve@musicconsultant.net 

Contact: Steve Lurie, Founder and 

President 

MUTATO MUZIKA 



310-360-0561 

E-mail: natalie.montgomery@gmail.com 

Web: www.mutato.com 

Contact: Natalie Montgomery 

Credits: MTV2, Sci-Fi Channel, Films, Ad 

Agencies, CW Network, Nike, SIMS, HBO 


material, CDs only 

NAXOS OF AMERICA 

1810 Columbia Ave., Ste. 28 

Franklin, TN 37064 

615-771-9393 

Web: www.naxos.com 


NEOPHONIC, INC. 

1433 6th St. 


310-550-0124 

Web: www.neophonic.com 

Contact: Evyen Klean, music supervisor; 

PJ Bloom, music supervisor 

How to Submit: e-mail submission request 

at website 

NON STOP MUSIC 

3400 W. Olive Ave. 4th Fl. 


818-238-6300 Fax 818-238-6330 

E-mail: tim@nonstopmusic.com 

Web: www.nonstopmusic.com 

Contact: Tim Arnold 

Credits: Universal, ABC, NBC, ESPN, 

CNN, HBO, A&E, Dreamworks, 20th 

Century Fox, CBS 


material. Submit to: Non-Stop Music, Attn: 

Composer Submission, 915 West 100 

South, Salt Lake City, UT 84104 

PEACE BISQUIT 

718-789-1689 Fax 718-789-1665 

E-mail: bill@peacebisquit.com 

Web: www.peacebisquit.com 


PIGFACTORY 

8075 W. 3rd St., Ste. 540 


323-653-1200 Fax 323-677-4500 

E-mail: pigfactory@pigfactory.com 

Web: www.pigfactory.com 


PLAYBACK MUSIC SUPERVISION 

E-mail: billyg@playbackmusic.net 

Web: www.playbackmusic.net 

Contact: Billy Gottlieb 

Credits: The Cooler, Like Mike, Bring It 

On, The Tuxedo, Pulp Fiction, Clueless, 

Basketball Diaries 

How to Submit: e-mail submission 

requests 

QUARK RECORDS/ QUARKETTE MUSIC 

(BMI) / FREEDURB MUSIC (ASCAP) 

P.O. Box 452 

Newtown, CT 06470 

917-687-9988 

E-mail: curtis@curtisurbina.com 

Contact: Curtis Urbina 

Credits: Lion’s Gate, Indican Pictures, 

Miramax, Ultrascene, Quark 


REAL CURES MUSIC 

11900 Metric Blvd. #J-195 


512-532-6157 

E-mail: realcures@yahoo.com 

Web: www.realcures.net 

Contact: David Lear 

Styles: Americana, indie rock, alt. country, 

rockabilly, acoustic, folk 


accepted via US mail 

REEL ENTERTAINMENT 



310-428-5924 

E-mail: info@reelent.com 

Web: www.reelent.com 

Contact: Mark Wolfson 

Credits: The Playtone Company, Cutback 

- Key 2 The Kingdom/ Paige DePonte, Seis 

Pistos, Mercy Pilots, Temple Of Heads, The 

Grab Brothers, Charlotte Henry, Stacey 

Bowmen, Life On Mars. 

How to Submit: e-mail submission request 

REEL SOUND, INC. 

4901 Rupert Ave. 


818-618-REEL (7335) 

E-mail: reelsoundinc@aol.com 

Web: www.reelsoundinc.com 

Contact: Michael Becker 

How to Submit: e-mail before 

submitting 

RIGHTS WORKSHOP, THE 

39 Mesa St., Ste. 101 


415-561-3333 

E-mail: info@rightsworkshop.com 

Web: www.rightsworkshop.com 

Contact: Maryam Soleiman, Annie Lin, 

Brooke Wentz 

Credits: Big River Man, La Mission, 

Everyday Sunshine: The Story of Fishbone, 

The Devil & David Johnston, The Weather 

Underground, American Hardcore 

How to Submit: e-mail �rst before sending 

material 

ROCK RIVER MUSIC 

520 Hampshire St. #202 


415-355-1550 Fax 415-355-0550 

Web: www.rockrivermusic.com 

Contact: Nathan Sedlander 

How to Submit: call for more info 

SCREENMUSIC INTERNATIONAL -- 

PRODUCTION MUSIC LIBRARY 



818-789-2954 

E-mail: screenmusic@aol.com 

Web: www.screenmusic.com 

Credits: All major Film & TV companies 

incl. Warner Brothers, Dreamworks, Lion’s 

Gate Films, MGM, Paramount 


before sending CDs 

SL FELDMAN & ASSOCIATES 

200-1505 West 2nd Ave. 

Vancouver, BC V6H 3Y4 

604-734-5945 

E-mail: natasha@slfa.com 

Web: www.slfa.com 

Contact: Natasha Duprey 

Styles: all 

Credits: De�ning Gravity, Imaginarium of 

Doctor Parnassus, Frankie & Alice 

How to Submit: no unsolicited 



8 Elm St. 

Toronto, ON M5G 1G7 

416-598-0067 

SMC ARTISTS 

4400 Coldwater Canyon, Ste. 127 

Studio City, CA 91604-5038 

818-505-9600 

Web: www.smcartists.com 

Contact: Otto Vavrin II 

How to Contact: call before submitting 

material 



SONGFINDER 

Atlanta, GA 

404-437-7978 

E-mail: melissa@original-media.net 

Web: http://musicsong�nder.com 

Contact: Melissa Love 

SOUNDTRACK MUSIC ASSOCIATES 

1460 4th St. 


310-260-1023 

E-mail: info@soundtrk.com 

Web: www.soundtrk.com 

Contact: John Tempereau, Roxanne Lippel 

Music Supervisors: George Acogny, 

Anastasia Brown, Jason Eldredge, Matt 

Kierscht, Frankie Pine, Mary Ramos, 

Michelle Silverman, Carter B. Smith 


SUPERVISION 

165 Hudson St., Rear Entrance 


212-219-9170 

E-mail: supervision@mindspring.com, asst. 

supervision@mindspring.com 

Contact: Susan Jacobs, Jackie Mulhearn 


SWEET & DOGGETT 

Boston, MA 

617-872-0455 

E-mail: info@sweetdoggett.com 

Web: www.sweetdoggett.com 

Contact: Jay Sweet or Scot Doggett 

Credits: AOL, Merrill Lynch, Kodak, Fisher- 

Price, Dunkin Donuts 


SYNC POP MUSIC SUPERVISION 


213-447-6048 

E-mail: contact@syncpopmusic.com 

Web: http://syncpopmusic.com, www. 


myspace.com/syncpop 

Credits: Luster, Stuntwood, FAQS, For 

Right or Wrong, FuelTV, Sundance Channel, 

Logo 

TLS MUSIC SERVICES 

818-848-2330 Fax 818-848-4006 

E-mail: tracy@tlsms.com 

Web: www.tlsms.com 

Music Supervisor: Tracy Lynch-Sanchez 

Credits: Napoleon Dynamite, 20th 

Century Fox, Universal Studios Home 

Entertainment, MGM 


TRF PRODUCTION MUSIC LIBRARIES 

1 International Blvd., Ste. 212 

Mahwah, NJ 07495 

201-335-0005, 800-899-MUSIC 

E-mail: info@trfmusic.com 

Web: www.trfmusic.com 

Contact: Anne Marie Russo 

Credits: TV Networks, Film Studios, 

Ad Agencies 

How to Submit: submit Acoustic & 

Instrumental material only 

TRUE TALENT MANAGEMENT 

9663 Santa Monica Blvd., #320 

Dept. WEB 


310-560-1290 

E-mail: webinfo@truetalentmgmt.com 

Web: www.truetalentmgmt.com 


material 

UMG NASHVILLE 

401 Commerce Street 


615-244-8944 

Web: www.umgnashville.com 

Styles: Country, rock, singer-songwriter 

Clients: Shania Twain, Toby Keith, Willie 

Nelson, Ryan Adams, George Strait, Reba 

McEntire and more 

Credits: Lost Highway, Mercury, MCA, 

Dreamworks 


VELVET EARS 

15332 Antioch St., #704 

Paci�c Palisades, CA 

818-510-0295 Fax 310-496-2624 

Web: www.velvet-Ears.com 

Contact: Liz Gallacher, Kathleen Hasay 

Credits: Live Forever, Virgin Records, 

Bend It Like Beckham, Cube Soundtracks, 

Resident Evil 

VERSUSMEDIA 

556 S Fair Oaks Ave., Ste. 245 


877-633-8764 

E-mail: info@versusmedia.com 

Web: www.versusmedia.com 

Contact: Ryan 

Styles: All genres 

Credits: Over 900 independent �lms 

worldwide 

How to Submit: online registration 

necessary to receive listings 

VISUAL MUSIC SERVICE 



310-274-9601 

E-mail: rick�e@gmail.com 

Web: www.visualmusicservice.com 

Contact: Rick Fleishman 


WARD HAKE 

VP Music, 20th Century Fox TV 

10201 W. Pico Blvd. 

Bldg. 88, Ste. 30 


310-369-1000 Fax 310-369-8726 

Credits: 24, Prison Break, The Simpsons, 

Family Guy, My Name Is Earl, How I Met 

Your Mother, The Unit, The Shield, Shark 

and Bones 


WARNER-CHAPPELL 

VP Film & TV 

Warner/Chappell Music, Inc. 



310-441-8600 

Web: www.warnerchappell.com 


WJOY MUSIC SEARCH & LICENSING 

2675 W. Grand Ave., Ste. 505 


773-276-9340 

Web: www.wjoymusic.com 

Contact: Joy Wellington Tillis 

Comments: WJOY provides a service to 

advertising and corporate clients by aiding 

them in obtaining rights to use pre-recorded 

and stock music. 

How to Submit: Call before submitting 

ZOO STREET MUSIC 

2701 W. Willow St. 


818-955-5268 

E-mail: music@zoostreet.com 

Web: www.zoostreet.com 

Contact: Omar Herrera 

Credits: The Batmobile documentary, the 

Dark Knight Rises, The Lorax, The Bourne 

Legacy, American Reunion, The Avengers, 

Men in Black 3, Hotel Transylvania, and 

Happy Feet Two. 


Post-Production 

California 

740 SOUND DESIGN 

12509 Beatrice St. 

MUSIC 

ATTORNEY 

26 Yrs. Pro Attorney / 35 Yrs. Pro. Musician 

Legal Expert: 

• Music Entertainment 

• Contracts 

• Band Disputes 

• Publishing 

• TV/Film 

• Business formation 

• Contracts 

Christopher J. Olsen 

Lawyer 

Free Email & Phone 

Consultation: 

Call or Email Anytime: 805-557-0660 

chris@chrisolsenlaw.com 

www.chrisolsenlaw.com

Download This Directory From Our Website 

www.musicconnection.com/amp 


310-574-0740 Fax: 310-306-0744 

E-mail: info@740sounddesign.com 

Web: www.740sounddesign.com 

Basic Rate: call for info 

BELL SOUND STUDIOS 

916 N. Citrus Ave. 


323-461-3036 Fax 323-461-8764 

Web: www.bellsound.com 


BIG EARS SOUND DESIGN + MUSIC 

3435 Ocean Park Blvd., Ste. 107 


310-597-3600 

E-mail: info@bigears.com 

Web: www.bigears.com 


BRIAN BANKS MUSIC 

1660 Ninth St. 


310-691-2347 UK +44-20-7096-1652 

E-mail: brian@brianbanksmusic.com 

Contact: Amy Lyngos, Jenny Warren 

Web: www.facbook.com/BrianBanksMusic 


BRIDGE RECORDING, THE 

736 Salem St. 

Glendale, CA 91203 

818-396-4474 Fax 818-396-4979 

E-mail: vicki@thebridgerecording.com 

Web: www.thebridgerecording.com 

Basic rate: call for info 

BRUCE ROBB PRODUCTIONS & 

QUARTER2THREE RECORDS 

323-903-0003 Fax: 323-210-7434 

Web: www.brucerobbproductions.com 

E-mail: info@brucerobbproductions.com, 

info@quarter2three.com 

CALIFORNIA INDEPENDENT 

PRODUCTION CENTER (CIPC) 

818-842-2828, 310-560-2373, 

702-435-0277 

E-mail: dave.absolute@gmail.com 

Web: www.independentproduction 

center.com 


CAPITOL STUDIOS 

1750 N. Vine St. 


323-871-5001 Fax 323-871-5058 

E-mail: paula.salvatore@capitolstudios.com 

Web: www.capitolstudios.com 

Contact: Paula Salvatore 


CASHMAN COMMERCIALS 

26136 N. Twain Pl. 

Stevenson Ranch, CA 91381 

661-222-9300 

E-mail: info@cashmancommercials.com 

Web: www.cashmancommercials.com 


CHARLES LAURENCE PRODUCTIONS 

19002 Los Alimos St. 

Northridge, CA 

818-368-4962 

Contact: Charles Laurence 

Basic Rate: $29-49/hr 

CLOUD 19 

3767 Overland Ave., Ste. 103 


310-839-5400 Fax 310-839-5404 

E-mail: info@cloud19.com 

Contact: Scott Boutte 

Web: www.cloud19.com 


CONWAY RECORDING STUDIOS 

5100 Melrose Ave. 


Looking for a 

Recording Studio? 

With our network of the finest hand selected 

recording facilities we create a quick no 

hassle way to find the right studio for 

you and your project. 

One call is all it takes to insure you get 

the best place for your individual needs. 

This is a free service 

818-222-2058 

www.studioreferral.com 

323-463-2175 Fax 323-463-2479 

E-mail: info@conwayrecording.com 

Web: www.conwayrecording.com 


CUPS ‘N STRINGS 

4411 Brookford Ave. 


818-222-4600 Fax 818-286-9588 

E-mail: studios@cupsnstrings.com 

Web: www.cupsnstrings.com 


DEEPMIX 

1600 Vine St., Ste. 662 


323-769-3500 

E-mail: information@deepmix.com 

Web: www.deepmix.com 


EASTWEST RECORDIOG STUDIOS 

6000 W. Sunset Blvd. 


323-957-6969 Fax 323-957-6966 

E-mail: candace@eastweststudio.com 

Web: www.eastweststudio.com 


ES AUDIO SERVICES 

Glendale / Burbank, CA 91201 

818-505-1007, 800-880-9112 

E-mail: studio@esaudio.com 

Web: www.esaudio.com 

Contact: Donny Baker 

Basic Rate: Call for more info 

ENDLESS NOISE 

1825 Stanford St. 


310-694-8w251 

E-mail: marycatherine@endlessnoise.com 

Web: www.endlessnoise.com 


FIREHOUSE RECORDING STUDIOS 

30 W. Green St. 


626-405-0411 Fax 626-405-0413 

E-mail: jason@�rehouserecording.com 

Web: www.�rehouserecordingstudios.com 

Contact: Jason Upright 


FRIDAY ENTERTAINMENT 

Sherman Oaks, CA 

818-995-4642 

E-mail: info@fridayentertainment.com 

Web: www.fridayentertainment.com 

Contact: Sam Dress 

Basic Rate: very competitive 

FUZZ MUSIC + SOUND DESIGN 

2429 S. Halm Ave. 


310-666-4174 

E-mail: info@musicfuzz.com 

Web: www.musicfuzz.com 


GREENWOOD SOUND 

Van Nuys, CA 

818-384-6286 

E-mail: greenwoodsound@earthlink.net 

Web: www.greenwoodsound.com 

GRIND MUSIC & SOUND 

818-565-5565 

E-mail: info@grindinc.com 

Web: www.grindinc.com 


HUM MUSIC + SOUND DESIGN 

1547 Ninth St. 


310-260-4949 Fax 310-260-4944 

E-mail: debbi@humit.com 

Web: www.humit.com 




LA DIGITAL POST 

11311 Camarillo St. 


818-487-5000 Fax 818-487-5015 

E-mail: tolucalake@ladigital.com 

Web: www.ladigital.com 


1813 S. Centinela Ave. 


310-954-8650 Fax 310-954 

E-mail: santamonica@ladigital.com 

MEDIA CONCEPTS 

4403 West Magnolia Blvd. 


818-736-5800 

Contact: Studio Manager 


MIND OVER EYE, LLC 

1639 11th St., Ste. 117 


310-396-4663 Fax 310-396-0663 

Web: www.mindovereye.com 


MUSIC COLLECTIVE, THE 



818-508-3303 Fax 818-508-3314 

E-mail: scott@aemg.com 

Web: www.aemg.com 


NICOLE DIONNE / PRIMALSCREAM 

MUSIC 

@ The Village Recorder 

1616 Butler Ave. 


310-478-8227 

E-mail: info@primalscreammusic.com 

Web: www.primalscreammusic.com 



@CedarCreekRecording 

5012 Brighton Road 


512-861-2991 

RACE HORSE STUDIOS 

3780 Selby Ave. 


310-280-0175 Fax 310 280-0176 

E-mail: duncan@racehorsestudios.com 

Web: www.racehorsestudios.com 

Contact: Duncan 

Clients: Universal Interactive, 

D3Publishers of America, Trailer Park of 

Terror 


RIPTIDE MUSIC, INC. 

4121 Redwood Ave., Ste. 202 



310-437-4380 Fax 310-437-4384 

E-mail: contact@riptidemusic.com 

Web: www.riptidemusic.com 


S3 MUSIC + SOUND 

11681 Gateway Blvd. 


310-312-3329 Fax 310-312-8827 

E-mail: info@s3mx.com 

Web: www.s3mx.com 


SCREENMUSIC INTERNATIONAL 



818-789-2954 

E-mail: screenmusic@aol.com 

Web: www.screenmusic.com 


SENSORY OVERLOAD MUSIC 

310-839-1996 

E-mail: Bryan@Sensory-Overload.com 

Web: www.sensory-overload.com 

Contact: Bryan Miller 


SILVERDISC PRODUCTIONS 

909-996-4224 

E-mail: jeff@silverdiscpro.com 

Web: www.silverdiscpro.com 

Contact: Jeff 


SOTTOVOCE STUDIOS 

Sherman Oaks, CA 

818-694-3052 

E-mail: info@sottovocestudio.com 

Web: www.sottovocestudio.com 

Contact: Shaun Drew 

Basic Rate: Call for info 

SOUNDBATH MUSIC & SOUND 

310-392-0369 or 310-990-0202 

E-mail: garron@soundbath.com 

Web: www.soundbath.com 


STOKES AUDIO RECORDING & POST 


Tarzana, CA 91356 

818-855-9759 

E-mail: sales@stokesaudio.com 

Web: www.stokesaudio.com 


STUDIO CITY SOUND 

4412 Whitsett Ave. 


818-505-9368 Fax 818-761-4744 

E-mail: eharrison@studiocitysound.com 

Web: www.studiocitysound.com 


SUMMERFIELD MUSIC, INC. 

Trailer Trash Music Library, 

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 

Summer�eld Records, 

Merson Music Publishing 

14024 Roblar Rd. 


818-905-0400 

E-mail: info@summer�eldmusic.com 

Web: www.summer�eldmusic.com 


THRESHOLD SOUND + VISION 

2114 Pico Blvd. 


310-566-6677 Fax 310-314-3826 

E-mail: micheleb@thresholdsound.com 

Web: www.thresholdsound.com 

Contact: Michele Blankenship 


THUNDER SOUND 

3211 Olympic Blvd. 


310-829-4765, Fax 310-315-6399 

E-mail: artwright@thunder-sound.com 

Web: www.thunder-sound.com 

Contact: Art Wright 


TOMCAT ON THE PROWL 

PRODUCTIONS 

Studio City, CA 

818-943-6059 

E-mail: studio@tomcatontheprowl.com 

Contact: Thomas Hornig 

Web: http://tomcatontheprowl.com 

V GROUP, THE 

359 21st St. 


310-395-0252 

E-mail: v@thevgroup.net 

Web: www.thevgroup.net 


VILLAGE, THE 

1616 Butler Ave. 


310-478-8227 Fax 310-479-1142 

E-mail: tina@villagestudios.com 

Web: www.villagestudios.com 

Contact: Tina Morris 


WALT DISNEY STUDIOS 

500 S. Buena Vista St. 


818-560-2731 

Web: www.buenavistapost.com 


WARNER BROS. STUDIO FACILITIES 

POST PRODUCTION SERVICES 

4000 Warner Blvd., Bldg. 4 


818-954-2515 818-954-5305 

E-mail: wbsfpostproductionservices@ 

warnerbros.com 

Web: www.wbsf.com 

Contact: Kim Waugh 


WARRIOR RECORDS 

7095 Hollywood Blvd., Ste. 826 


800-579-9157 (ext. 707) 

Fax 323-924-1095 

E-mail: info@warriorrecords.com 

Web: www.warriorrecords.com 

Contact: Jim Ervin 


WESTLAKE RECORDING STUDIOS & 

TECHNICAL SERVICES 



323-851-9800 

E-mail: bookings@thelakestudios.com 

Web: www.thelakestudios.com 

Contact: Sara Clark 

Basic Rate: call or e-mail for info 

WOJAHN BROS. MUSIC 

1524-D Clover�eld Blvd. 


310-829-6200 Fax 310-829-6222 

E-mail: info@wojahn.com 

Web: www.wojahn.com 



Mid-West/Dallas Rep. 

Lauren McNamara 

312-222-9335 

E-mail: lworldrep@aol.com 

ZOO STREET MUSIC 

2701 W. Willow St. 


818-955-5268 Fax 818-295-5001 

Contact: Omar Herrera 

Web: www.zoostreetmusic.com 

Basic Rate: contact for rates 

Florida 

CINEWORKS DIGITAL STUDIOS 

6550 N.E. 4th Ct. 

Miami, FL 33138 

305-754-7501 Fax 305-754-3850 

E-mail: info@cineworks.com 

Web: www.cineworks.com 



800 Distributors Row, Ste. 120 

New Orleans, LA 70123 

504-733-8353 Fax 504-733-8351 

E-mail: boyd@cineworks. com 

Web: www.nimscenter.com 

COMTEL TELEVISION 

PRODUCTION FACILITIES 

14901 N.E. 20th Ave.


N. Miami, FL 33181 

305-948-9116 

Web: www.comtelinc.com 


Illinois 

ATOMIC IMAGING INC. 

1501 N. Magnolia Ave. 


312-649-1800 Fax 312-642-7441 

E-mail: aigar@golan.tv 

Web: www.atomicimaging.com 

Contact: Aigar Dombrovskis 



New York 

Contact: Erik Iversen 

E-mail: erik@atomicimaging.com 

312-649-1800 x 5770 

Los Angeles 

Contact: Tim Clark 

E-mail: Tim@atomicimaging.com 

312-649-1800 X 5780 

San Juan, Puerto Rico 

Contact: Luis Ruiz 

E-mail: lois@atomicimaging.com 

312-649-1800 X 5790 

FOUNDATION POST 

200 E. Ohio St., Suite 200 


312-951-8734 Fax 312-951-8801 

Web: www.foundationpost.com 

E-mail: samantha@foundationcontent.com 

Contact: Samantha Hart, Creative Dir. 



3583 Hayden Ave. 

Culver City, CA 90232 

424-238-0381 

NIKITOVA LLC 

203 N. LaSalle, Ste. 2100 


773-913-8015 Fax 773-442-0693 

E-mail: info@nikitovagames.com 

Web: www.nikitovagames.com 


SONIXPHERE 

445 E. Ohio 

Chicago, IL 

312-329-1310 Fax 312-329-1339 

Web: www.sonixphere.com 

E-mail: greg.allen@sonixphere.com 

WHITEHOUSE POST 

PRODUCTION, THE 

54 W. Hubbard St., Ste. 501 


312-822-0888 

E-mail: dan@whitehousepost.com 

Web: www.whitehousepost.com 

Contact: Dan Bryant Exec. Prod. 





310-319-9908 

E-mail: sue@whitehousepost.com 

Contact: Sue Dawson 

180 Varick St., Ste. 1400 


212-568-8200 

E-mail: lauren@whitehousepost.com 

Contact: Lauren Hertzberg 

Whitehouse At The Ambassadors 

TH.K Van Lohuizenlaan 196 1019 CD 

Amsterdam, The Netherlands 

E-mail: tycha.jovanovic@theambassadors.nl 

Contact: Tycha Jovanovic 

+31-20-4357171 

Massachusetts 

SOUNDMIRROR 

76 Green St 

Boston, MA 02130 

617-522-1412 fax: 617-524-8377 

Web: www.soundmirror.com 

Nevada 

DIGITAL INSIGHT RECORDING STUDIOS 

2810 S. Maryland Pkwy., Ste. C 

Las Vegas, NV 89109 

702-792-3302 Fax 702-792-8582 

E-mail: digitalinsightrecording@gmail.com 

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New York 

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321 W. 44th St., Ste. 503 


845-467-6884 

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CP DIGITAL 

102 Madison Ave. 


212-328-5177 

E-mail: ffiore@cpdigital.com 

Contact: Franco Fiore 

Web: www.cpdigital.com 


CHELSEA POST 

All Mobile Video 

221 W. 26th St. 


212-727-1234 

E-mail: rduke@amvchelsea.com 

Contact: Richard Duke, Post & Duplication 

Web: www.amvchelsea.com 


CINERIC 

630 9th Ave., Ste. 508 


212-586-4822 Fax 212-582-3744 

Web: www.cineric.com 


CREATIVE GROUP INC. 

1601 Broadway, 10th Fl. 


212-935-0145, 212-342-8277 

E-mail: Mbuckner@creativegroup.tv 

Contact: Mike Buckner, Sales NY/CT 

Web: www.creativegroup.tv 


DIGITAL ARTS 

130 W. 29th St., 8th Fl. 


212-460-9600, Fax 212-660-3600 

Web: www.digital-arts.net 

Contact: Axel Ericson 


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57 E. 11th St., 3rd Fl. 


212-533-3443 

E-mail: info-ny@yessian.com 

Web: www.dragonlicks.com 



33117 Hamilton Ct. 

Farmington Hills, MI 48334 



248-553-4044 

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2010 S. Westgate Ave. 

West LA, CA 90025 

888-937-7426 

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DUART FILM & VIDEO 

245 W. 55th St. 


212-757-4580 

E-mail: info@duart.com 

Web: www.duart.com 


MAGNETIC POST PRODUCTION 

5 Hillock Ave 

Hawthorne, NJ 

212-598-3000 Fax 212-228-3664 

E-mail: contact@magneticimage.com 

Web: www.magneticimage.com 


MERGE CREATIVE MEDIA 

145 6th Ave. - 7th Fl. 


212-727-2540 

E-mail: info@lmergenyc.com 

Web: www.mergecreativemedia.com 


MOVING PICTURES 

222 E. 44th St., 8th Fl. 


212-450-7933, 212-924-7324 

Web: www.mpny.tv 


POST FACTORY 

161 Ave. of the Americas, 11th Fl. 


212-627-1662 Fax 212-627-1684 

E-mail: chris@postfactoryny.com 

Vince Gill 

Web: www.postfactoryny.com 

Contact: Chris Peterson 



233 Spring St., 4th Fl. 

New York, NY 

212-627-2330 


PRIME FOCUS 

345 Hudson St., 13th 


212-292-3333 

E-mail: info-ny@primefocusworld.com 

Web: www.primefocusworld.com 




1800 N. Vine St. 


323-461-7887 

E-mail: info-la@primefocusworld.com 

1205 Melville Street 

Vancouver, BC, V6E 2V1 

604-733-7030 

E-mail: info-van@primefocusworld.com 

PURPLE COW POST 

516-443-1058 

Web: www.purplecowpost.com 

Contact: Brain Kushner 


ROGUE POST NYC 

18 W. 21st St., 10th Fl. 


212-366-5011 Fax 888-839-5445 

E-mail: sean@roguepost.com 

Web: www.roguepost.com 

String String tring Fever Fe Fever 

Benefitting the Tennessee State Museum 

with 

Steve Cropper, Duane Eddy, 

Steve Gibson, Marty Stuart, 

Steve Wariner and more. 

12-12-12 

8:30 p.m. at TPAC’s Polk Theater 

Tickets can be purchased at the TPAC Box 

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at 615-782-4040 

$250 VIP ticket Packages available 

For details contact: beth.lekander@tn.gov 

String Fever is presented in conjunction with the State Museum 

exhibition, The Guitar: An American Love Story. Sponsored by: 

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Cotten Music, Coopercopia, LLC, and Nashville Arts Magazine Photo Jerry Atnip 

Contact: Sean Campbell 


TOWN & COUNTRY CREATIVE 

917-287-6575 

E-mail: deathbytrout@yahoo.com 

Web: www.townandcountrycreative.com 

Contact: Rosanna Herrick 


WORLDS AWAY PRODUCTIONS, LTD. 

151 Grand St. 


212-530-0669 

E-mail: info@worldsaway.tv 

Web: www.worldsaway.tv 


Pennsylvania 

STARCITY RECORDING CO. 

3935 Rabold Cir. S. 

Bethlehem, PA 18020 

610-865-9455 Fax 610-865-9457 

E-mail: lily@starcityrecording.com 

Web: www.starcityrecording.com 

Contact: Lily Salinas 


Tennessee 

CONTINENTAL FILM PRODUCTIONS 

1466 Riverside Dr. Ste. E 

Chattanooga, TN 37406 

423-622-1193 Fax 423-629-0853 

E-mail: info@continental�lm.com 

Web: www.continental�lm.com 


HOUSE OF BLUES NASHVILLE 

904 Rayner St. 

Memphis, TN 38114 

818-990-1296 

E-mail: gary@houseofbluesstudios.com 

Web: www.houseofbluesstudios.com/ 

memphis 


POSTDIGITAL INC. 

2613 Westwood Dr. 


615-584-0734 Fax 615-503-9886 

Web: www.postdigital.us 

Contact: Perry Trest 


Texas 

501 POST 

501 N. IH-35, 


512-476-3876 Fax 512-477-3912 

E-mail: george@501post.com 

Web: www.501post.com 

Contact: George O’Dwyer 


VIDEOWISE GROUP 

2245 Keller Way, Ste. 250 


972-418-9600 x101 

E-mail: info@videowisegroup.com 

Web: www.videowisegroup.com 


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By Brian Tarquin 

Indie Music 

Licensing NOW 

Throughout these tumultuous times for the music industry, one thing has remained constant–– 

the lucrative fees in broadcast and film licensing. These fees can range anywhere from 

hundreds of dollars to tens of thousands of dollars and, in some cases, additional reuse 

fees. To get your music placed, it really comes down to hitting the pavement, shaking 

hands and making phone calls to build contacts. Here’s what’s working for me…. 

1. Use Resource Guides 

I’ve always found that resource guides are a good place to start making 

connections. Having more than one guide or directory is even better––you 

can cross-reference them. The Music Registry publishes a host of reference 

guides for the music industry, like the Film & Television Music Guide and the 

Music Publisher Registry. They were one of the �rst companies to tackle this 

type of directory for TV & Film music contacts back in the early ‘90s. What is 

most impressive about this guide is that it carries pertinent information about 

music supervisors, music editors, music departments, etc. There are other 

resources, too, like the Hollywood Creative Directory, 411 Directories and 

the Blu-Book Directory that are available, 

but The Music Business Registry is still 

the most thorough of its kind. And do not 

forget that Music Connection is well known 

for its guides and directories, always 

updated annually. 

2. Do Your Homework 

Once you have a list of contacts to approach, 

make sure your music is appropriate 

to submit to these particular contacts. 

Meaning, if you are a pop vocalist, be 

sure that these people you are contacting 

actually license vocal music and not just 

60-second promo instrumental music or 

blues. The best way to research this is to 

�rst watch the shows in question and make 

note of their likes and styles, so when you 

contact them you sound well informed. 

Also before making cold calls, try to get a 

referral from someone they know. How do 

you do that? If the contact person is not 

able to use your music, ALWAYS ask them 

who they can recommend! If they are able 

to give you a name, then you know you 

can use that person’s name for a referral to 

make the new contact. Keep a details log 

as well. Write down the date you spoke to 

a contact and any other pertinent information, such as, “told me to call back 

in June 2012 to follow up for new show.” 

3. Build A Catalog 

Product, that’s what you need! When you start shopping your music 

for licensing possibilities, have at least a CD’s worth of material. It seems 

fruitless when people shop only one song to a music supervisor, unless it’s 

a huge hit from an artist that everyone knows, like Lady Gaga. Sure there 

is always a possibility that one song could be perfect for a scene and they 

could license it, but if you are going to all this trouble in contacting people, it 

just makes better sense to have a number of tracks to shop to get a �ghting 

chance. Especially in today’s digital revolution, you can put tons of music on 

thumb drives and mail it off. 

4. Pick The Right Contacts 

It will save a lot of time if you make preliminary calls to the music departments 

to see if they, in fact, license music from outside contributors. 

Certain companies have exclusive licenses with music libraries and are 

restricted in using outside sources. Also there are certain shows that don’t 

license outside music and only use one music composer for the show. 

Please keep in mind that a lot of your success is determined by timing and 

whether a show needs your type of music. 


When speaking with the music supervisor always try to see what kind of 

music they may need in upcoming episodes, and attempt to get a gauge on 

what their future licensing needs are, inquire if they are developing other 

projects––if they can’t use one of your songs now, they may be able to use 

it in the future. 

5. Understand Music Libraries 

A common question I get is, “What is a music production library?” Simply, 

they are music companies, like First Com, Megatrax, Sonoton, etc., who 

hire composers to produce music that’s affordable for all sorts of broadcast 

and �lm productions. So if a show wants a 

pop vocal song and can’t afford licensing 

a track by Rihanna from Def Jam, they go 

to a place like Killer Tracks and license 

a sound-alike. It’s pretty straightforward 

and simple for productions because these 

libraries own both the masters and the 

sync (publishing), so it’s a one-stop shop. 

In the new millennium there has become 

a new business model for these libraries, 

places like Crucial Music, Pump Audio 

and Rumble Fish, where these companies 

aren’t hiring composers to build their 

catalog, but instead licensing tracks from 

a plethora of musicians out there and 

offering the songs up for licensing. 

6. Check Out The Hollywood Reporter 

This is the classic guide for TV and Film 

people through the decades. Thing is, it is 

also a great resource for music placement 

contacts. They offer nice online access 

to both TV and �lm productions, with 

the speci�c production data, like phone 

numbers and addresses. This resource 

doesn’t offer music supervisor information, 

Brian Tarquin so you have to call the main production 

number for each listing and ask them for 

the appropriate music contact. This is where cross referencing with your 

other directories comes into play; sometimes people are reluctant to give 

emails or numbers over the phone, so as long you have a full name you 

can look it up. More than likely you’ll �nd the detailed information you need. 

7. Target Music Editors 

While a music supervisor is more of an administrator, licensing the music 

from the various sources, a music editor physically places the music in the 

shows. A lot times music editors may temp in a piece of music and it will 

wind up staying in the show as a �nal. It is good then for editors to have your 

music at hand, so it’s immediately available to be placed. In the past, I’ve 

had a lot of success like this and it has sometimes turned into a productive 

business relationship. Some will even call on you personally to compose 

original score for them down the line. 

miniBIO: 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://tv�lmtrax.com


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