September 2021 by Music Connection

September 2021

musicconnection.com

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16/06/2021 20:05

CONTENTS 38

Informing Music People Since 1977 September 2021 • Vol. 45 • No.9

The Immediate Family Since the early ‘70s, they’ve been on the ground floor of more hits than anyone can imagine. Now, these legendary musicians have stepped into the spotlight under their own banner for a new album of all original material.

By Eric Harabadian Photos: Jay Gilbert

Pitching Your Music Like A Pro

Here’s what you can do to give your music submissions the best chance to break through.

By Bobby Borg & Michael Eames

Directory of Film & TV Music Production Compiled By Denise Coso

20. Producer Crosstalk: Adrian Gurvitz . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Rosabelle Eales, Overall Mgmt. . . . . . . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: TRISHES. . . . . . . . . . . . . . . . . . . . . . . . . . By Andrea Beenham 31. Career Connection: Audio Forensics. . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam 48. Expert Advice: Recording Files & Credit Notes. . . . . . . . . . . . . . . By Deborah Fairchild 62. Tip Jar: Be Smarter With Smart Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Sam Bates

September 2021

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Audio Forensics By Rob Putnam

Departments 08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 24. The Legal Beat 26. Signing Stories 28. Song Biz 34. Film•TV•Theater 36. Mixed Notes

Reviews 49. Album Reviews 50. New Music Critiques 52. Live/stream Reviews

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

September 2021

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E. Eric Bettelli PUBLISHER E. Eric Bettelli GENERAL MANAGER / ADVERTISING DIRECTOR ericb@musicconnection.com

Denise Coso OPERATIONS MANAGER / DIRECTORIES EDITOR denisec@musicconnection.com

Steve Sattler BUSINESS DEVELOPMENT MANAGER steve@creativesalesresource.com

Hillorie McLarty

ADVERTISING / MARKETING

hillorier@musicconnection.com

Ray Holt DIRECTOR OF DIGITAL MARKETING rayh@musicconnection.com

Jessica Pace FILM / TV / THEATER j.marie.pace@gmail.com

Mark Nardone

SENIOR EDITOR / ASSOCIATE PUBLISHER

markn@musicconnection.com

John Curry ART DIRECTOR artdirector@musicconnection.com

Joseph Maltese ASSOCIATE EDITOR / SOCIAL MEDIA MANAGER

josephm@musicconnection.com

Barry Rudolph NEW TOYS

barry@barryrudolph.com

Andrea Beenham SONG BIZ

drea@dreajo.com

Glenn Litwak THE LEGAL BEAT gtllaw59@gmail.com

Brett Callwood BUSINESS AFFAIRS

brettcallwood@gmail.com

FEATURE WRITERS

Andy Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com Daniel Siwek danielsiwek@roadrunner.com Editorial Interns

Derrick Duverger • Luana Papaiz intern@musicconnection.com

CONTRIBUTING WRITERS Heather Allen, David Arnson, Andrea Beenham, Bobby Borg, Kara Bradford, Pierce Brochetti, Brett Bush, Alexx Calise, Brett Callwood, Miguel Costa, Gary Graff, Eric Harabadian, Andy Kaufmann, Glenn Litwak, Andy Mesecher, Kurt Orzeck, Jessica Pace, Rob Putnam, Adam Seyum, Daniel Siwek, Brian Stewart, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Heather Allen, David Arnson, JB Brookman, Brett Callwood, Alexx Calise, Daren Cornell, Miguel Costa, Jody Domingue, Jim Donnelly, Kevin Estrada, Apple Kaufmann, David Klein, Alex Kluft, Heather Koepp, Tony Landa, Dave Long, Thomas Long, Charlie Meister, Scott Perham, Garrett Poulos, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Brian Stewart, Joshua Weesner, Ellen Woloshin

MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright © 2021 by E. Eric Bettelli. All rights reserved. Founded by: J. Michael Dolan / michael@jmichaeldolan.com

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September 2021

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“There’s no turning back!” - GREG WELLS

The Ultimate Evolution of the

DISTRESSOR in your DAW ®

The Arousor® is the only Distressor plug-in made by the creators of the legendary compressor themselves. Rather than just emulating the characteristics of the highly-revered compressor, it expands on all of the features that make up its signature analog sound giving you more control and more possibilities. With over 35,000 units sold and 25 years in circulation, the Distressor has become an essential compressor in every major studio across the world. Now, you can get the compressor that shaped a generation of hits in your digital audio workstation with added features that are not available on its hardware counterpart for an affordable price.

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Add analog tone and colorful saturation to any track Get the famous brick wall limiter sound with RIVET mode Fine tune the soft knee with the attack modification knob Software-only features offer unlimited compression possibilities Available in VST, VST3, AU, AAX, and AAX-DSP formats

ds. steroids. onsteroi ssoron Distressor isaaDistre oris Arousor “TheArous plugin essorplugin compr “The Arous “TheArous essor ororisisaacompr “The le?!” possib even that is How and ngand exciti tlyexciti How is that even possible?!” Instan equal witho ng tly ! !Instan ututequal witho NO PATERNO JOHNPATER back!” g turnin no ’s There al. music tlymusical. There’s no turning back!” -- JOHN instan tly instan award-winning WELLS - GREGWELLS - GREG inning

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– JONATHAN WIDRAN

SUMMIT AND RECORDING Silent REHEARSAL Zoo Studios summitstudiospasadena.com silentzoostudios.com

Drummer Turned Producer and Studio Owner: When Matthew Moore emigrated New Los Angeles, the furthest thing from his10 Transitionfrom from TheZealand Bridge to Recording to Silent Zoo: In 2019, after mind a of rehearsal recording studio, trailer let alone that has yearswas andlaunching thousands film, TV,and video game, music, andone media become a must-experience spot for musical superstars and indie library scoring sessions, The Bridge Recording owner Greg Curtisupstarts put his alike. Yet,Glendale, as he established a professional drummer (playpopular CA-basedhimself facility as on both the market. When Holden Wooding in numerous blues and jazz bands)1800 and sq. ft. live room, the veteran ward first set footrock, in the studio’s incredible educator, developed a passion forproducer engineering musician,he music producer, indie film and (at the time) student in and producing. While writing songs and developing USC’s music industry program envisioned buying it as a personal facility. his craft mid-2000s, Moore built and With its in 96the channel Neve VRL console andopened large 875 ft. control room, it up a studio his perfect Pasadena garage. After 10environment years seemed likeinthe spacious and sonic to record his surf/ of producing engineering new for a13-song stylistically di- and continue his slate of grunge bandand Checkerneck’s album verse clientele, he production partnered with Kiersten Diltsmusic, to scoring and artist (rock, electronic etc.) projects. In Debuild and2019, open Woodward Summit Rehearsal cember opened and it upRecording for a screen scoring session with his infellow Pasadena. Summit is a 5000 sq. so ft. rehearsal USC students––and it went well that he decided to expand operafacility recording studio “one stop for shop tions toand become a commercial studio allexperitypes of clients and recordings. ence” that provides both boutique band rehearsal space andupon a state-of-the-art 2000 sq. ft. took recording Building a Legacy: Woodward advantage of the pandemic studio. Moore and Diltsthe (who is no longer codowntime to revamp studio sonically, aesthetically and equipment owner) built it from up, having handBridge, Silent Zoo Studios wise. Carrying on the ground great legacy left bya The inis“every screw, of painttoand sound committed to coat continuing be custom an integral part of the screen scoring panel.” Hands-on customercontemporary service has been a of all genres. The facility is world, while incorporating music Summit trademark the get-go,live and when they opened last year after a also fully equippedfrom to livestream concerts, shows, sessions, podcasts, three-month COVID hiatus, the facility became important and therapeutic interviews, etc. Silent Zoo Studios is now openanwith a fully re-capped gathering place for staff and musicians talk about their challenges. and refurbished console and the latesttoApple computing power running the current Pro Tools, Logic Pro and Ableton Live programs, including Six Themed Rehearsalsoftware. Spaces:The Summit’s comfortable the Uniquely latest plug-ins and recording outboard gear and rooms mic are ideal for everything from band rehearsal to music lessons including and music locker have been further enhanced with many new offerings, video Rather than build outM50’s, similarmaintained spaces generically by the three shoots. matched original Neumann by Klaus titled Heyne, number orpractitioner letter, Moore the compelling and colorful idea toincreforemost of had condenser microphones modifications America. ate distinctive themed rooms–each designed for atrailer specific or Silent Zoo’s recent bookings include a cinematic for aesthetic Magic: The creative purpose. With sessions; its retro vibe, thestrings Classicand Room most Gathering; jazz piano brass, wind(Summit’s sections for Netfpopular) is perfect for film photography. Moore the blue and lix; and vocal sessions forand 2021 American Idol star describes Grace Kinstler.

September musicconnection.com August 20212021 musicconnection.com

icy tinged Stratus Room, the facility’s third largest, “as if you’re playing in the clouds and a favorite of metal bands.” The Moroccan Room, known for its brown earthy tones, is the perfect practice room, while the Victorian Room is stark, vintage styled and looks almost like a museum. A favorite choice of teachers, the Jazz Room has red paneling, a piano and vintage drum kit that appeals to jazz musicians and rockers alike. With red accents and black paneling, “The Suite” is a dynamic lockout room that includes a lounge, kitchen and bathroom. The uniqueness of these spaces has attracted the likes of Eric Burdon, Andy Grammar, Alabama Shakes, Ozomatli, Jordin Sparks, Corbin Bleu, Angel Olsen and Bikini Kill.the Photos can to beaccommodate seen on website: Equipment and Amenities: With capacity 50+ summitstudiospasadena.com Instagram musicians and two large iso booths, Silent Zoo Studios and offers a full @summitstudiospasadena. backline of instruments (drums, guitars, basses, keyboards, pedals, etc.); a 4K video rig with multiple cameras; a 9-foot Steinway Concert D; Studio: Withand Proover Tools and the complete Telefunken Recording Diamond series of mics; 300 guitar analog a high-end a effect pedals. Vibe changes and capability, additions include vinylsmix androom, a record two iso the booths, two ampTV, closets, player in the lobby; art byvocal artistsbooth, from all over world; Apple a large tracking andcolors vaulted this video games and more; lightbulbs that canroom change to lounge, create any beautiful space is also film andquality photography. WithBlue Moore at spectrum throughout theperfect studio;for and high coffees like Bottle. the helm his engineering, production (and quite often) The wallsoffering have exposed brick and the facility has vintage 1920’ssonglighting writing expertise, Summit offers a full slate of production services–enfixtures for an overall hybrid factory-industrial/rustic aesthetic. gineering, mixing, drum tracking, demos, full-band tracking and vocal tuning. from Commercial services include voiceover, narration and Quote Holdenaudio Woodward: “When I first saw it, the live room took podcast recording. In addition helping clients develop crafts, my breath away. When it’s that to size, you can do just abouttheir anything Moore uses the space toafacilitate his own songwriting and recording and I quickly envisioned whole range of exciting possibilities. We are endeavors. He is this currently building his own website (matthewmoore thrilled to reopen magnificent studio at full capacity and provide a music.com) to showcase hiscreation own productions and studio work. world class space for music and production of all kinds.” ContactContact Summit Silent Rehearsal and Recording, 626-486-2685 Zoo Studios, 818-484-5222

Mitch Lee

Manas Bhat

VP, Marketing Guitar Center

VP, Data Science & Analytics Guitar Center

Musical instrument retailer Guitar Center has named Mitch Lee as Vice President of Marketing. Lee brings expert knowledge and experience in marketing strategy, advertising, media, omni-channel retail marketing, and innovation. His experience includes working with brands such as Ancestry, Audi, Google, eBay, Motorola and Sears. He has previously led strategic efforts designed to drive customer engagement and revenue growth. In his new role as Vice President of Marketing, Lee will champion Guitar Center’s omni-channel, retail services, category, vendor and events marketing strategies, as well as media, marketing performance and consumer insights. Contact pr@clynemedia.com.

Guitar Center veteran Manas Bhat has been promoted to the position of Vice President of Data Science & Analytics. Bhat has been with the organization since 2011 and brings over 15 years of global experience to his new role. He will lead a team in supporting GC’s Product, Sales, Leadership, and Marketing divisions with predictive algorithms by analyzing both internal and externally procured data. Bhat began his tenure as an Analyst and became the Director of Strategic Planning and, most recently, Director of Data Science and Analytics. Bhat is a 2017 Guitar Center President’s Award recipient. Contact pr@clynemedia.com for more.

Zahid Zakaria

Jenni Pfaff

Lyte has named Zahid Zakaria as Vice President of Operations and Customer Strategy. Hailing from Mauritius and now residing in New York, Zakaria has spent the last six years building out the Insights & Analytics and Customer Success Operations practices at Yext. As Vice President of Operations and Customer Strategy, Zakaria will focus on developing the roadmap, insights, and foundations which underpin Lyte’s Sales and Success practices, while also cultivating a strong partnership with Lyte’s Product and Engineering teams as the company continues to innovate and scale. For more information, contact meilert@shorefire.com.

Warner Chappell Music (WCM), the global publishing arm of Warner Music Group (WMG), announced the appointment of Jenni Pfaff to Senior Vice President, Head of Global Strategic Integration & Operations. Pfaff joined Warner Chappell in 2019 as VP of People. While at Warner Chappell, Pfaff transfored the company’s culture and drove the employee engagement strategy for a global team of more than 500+ employees. Pfaff will serve as an adviser and change agent, ensuring WCM’s global business priorities and initiatives are successfully implemented. Contact kristal.mckanders@wmg.com for more.

VP, Operations and Customer Strategy Lyte

SVP, Head of Global Strategic Intergration & Operations Warner Chappell Music

Amalia Stephenson

Rachel Douglas

Royer Labs, a leading manufacturer of ribbon microphones, has announced the promotion of Amalia Stephenson to the position of General Manager. Having joined Royer Labs in 2000 as an administrative assistant shortly after graduating Berklee School of Music, Stephenson has been active in a wide range of company operations and has a comprehensive understanding of Royer’s culture and operations. During her time with Royer Labs, Stephenson has created all graphic content, print and online advertisement, promotional materials, different versions of its website, as well as shooting and editing promotional and educational videos and social media platforms. Contact rmaycock@ mountaincrest.net.

Range Media Partners has announced Rachel Douglas has joined the team as a Partner in the Music Division. With expertise in writer and producer talent, as well as catalog sales, Douglas will be one of the music partners at the forefront of Range’s Business Development and strategy to build out their publishing arm and create connectivity between artist development and the company’s writer and producer roster. Douglas has had an unconventional beginning to her career, starting on Wall Street as an investment banker after graduating from Washington University in St. Louis. Douglas consulted for brands like Target prior to shifting her focus to managing musicians. For more information, contact jaclynu@ grandstandhq.com.

Mark Kohler

Lauren Cutrell

Berklee College of Music has named educator, administrator, entrepreneur, and percussionist Mark Kohler Assistant Chair of the Percussion Department. Kohler is a Berklee alumnus who graduated magna cum laude with a bachelor’s degree in performance in 1982. He has worked as an assistant professor in the college’s Percussion and Ensemble departments since 2005, teaching courses on pop, R&B, rock, jazz, drums, and performance. Since 2016, Kohler has also been the owner and operator of Eames Drum Company, which manufactures custom drum sets and snare drums. Kohler has also been a member of the Percussive Arts Society since 1981. For more information, contact tdonahue@berklee.edu.

Soundstripe, a leading provider of unlimited royalty-free music, stock video, and sound effects to creators for use in videos, podcasts, and other projects, has promoted Lauren Cutrell to Vice President of Product. In her role, Cutrell will lead product vision, strategy, and definition, partnering with internal teams to continue delivering the stock media library and licensing to creators. Cutrell holds a B.S. in Communications from Kennesaw State University and is a certified Scrum Master. Cutrell began her career more than 15 years ago as a freelance designer and project manager, defining and managing digital and web product experiences in close collaboration with engineering teams. For more information, contact bill@jaybirdcom.com.

General Manager Royer Labs

Assistant Chair of Percussion Berklee College of Music

Partner, Music Division Range Media Partners

VP of Product Soundstripe

September 2021

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– BARRY RUDOLPH barry@barryrudolph.com

CORT ARTISAN A5 Cort Guitars introduces the Artisan A5 Beyond bass guitar, a modern instrument with the specs from Cort’s best-selling A5 Plus SCMS model. It has a single-cutaway body with a 24-fret multi-scale fretboard that ranges from 35.5-inches on the bass strings to 34-inches on the treble strings. This “fanned multi-scale fret” arrangement produces more tension for the low strings and subsequently tighter, more focused bass sounds. Cort goes with a reddish-colored bubinga top over a single-cutaway shaped ash body said to provide excellent articulation and deep sustain. There is a five-piece maple and panga-panga neck—the brightness of the maple is ideally balanced with the warm midrange of panga-panga. The A5 has a Hipshot® Transtone bridge unit that greatly improves string separation and reduces crosstalk for enhanced articulation and definition. Meanwhile, the Hipshot Ultralite machine heads are made of cast zinc with aluminum string posts and mounting nuts, resulting in 30 percent weight reduction that improves balance and tuning accuracy. The Bartolini® MK-1 pickup and preamp have long been the go-to electronics duo for the Artisan Series, and the MK-1 delivers plenty of punchy and warm mid-range along with transparent and brilliant highs for a superbly balanced sound. The MK-1 preamp has a trademark crisp high-end plus a flexible three-band equalizer. The preamp also provides a switchable active/passive mode for a robust, modern active sound or an organic, traditional passive sound. The new Cort Artisan A5 sells for $999 MSRP. cortguitars.com

EASTWEST HOLLYWOOD ORCHESTRA OPUS EDITION Opus Edition expands EW’s Hollywood Orchestra with new recordings, re-programmed original content, and powerful new features made possible by way of the new OPUS engine/player. The new GUI is clean and easy to navigate and the sounds are updated to sound more modern and open. Opus is faster and features individual instrument downloads, playing instruments while they’re still loading, and new effects for the mixer page. There is complete customization for each instrument. There are master key-switches where all articulations are available from the articulation palette and the new MOODS feature allows for Classic, Soft or Epic Moods stylized for EW’s Hollywood Strings, Brass, Orchestral Woodwinds and Percussion, Solo Violin, Solo Cello, and Harp collections. We found the option to quickly change moods is a big time saver. For our test trailer project, the classic setting was our preferred choice. However, while some of the patches in epic Mood “pack” an instant punch, if required, others used too much of a stereo widening effect. For a Hollywood-sounding score, most presets work seamlessly as they are and play well with each other. A personal favorite is to use this warm and polished sound with contrasting modern/hybrid sounds. Produced by Doug Rogers and Nick Phoenix, the new recordings include a new 18 violin string section for Hollywood Strings, new ensembles for Hollywood Brass and Hollywood Orchestral Woodwinds, plus new string, brass, and wind multi-ensembles. Its companion, Hollywood Orchestrator, is a time saving tool for composers “to achieve that Hollywood blockbuster sound within seconds. The patterns and presets are both a time saver and a good guide for the less experienced composer to get a sense of good instrument combinations and other orchestration conventions. With Hollywood Orchestrator you can create: real time arrangements and build rhythms and scores with the Step Editor. All ComposerCloud members will get instant access to Hollywood Orchestra/Orchestrator as well as the OPUS software engine. EastWest is offering a 50% discount off prepaid annual ComposerCloud Plus memberships. EastWest Hollywood Opus Edition sells for $795 (Diamond) and $695 (Gold) with updates $495 and $395 (respectively). New subscriptions to ComposerCloud start at $199/year or $19.99 per/month. For any composer looking for a well-recorded and very polished traditional Hollywood sound, the Opus Edition is the one! soundsonline.com/hollywood-orchestra-opus-edition

EMPIRICAL LABS AROUSOR REV 3 PLUGIN Arousor™ Rev 3 is the newest version of Arousor that builds on emulations of the tonal possibilities of Empirical Labs’ Distressor hardware counterpart. There are now two opto compression modes, as well as two additional ratio choices: 6:5:1 and 7:1. Arousor Rev 3 is a free update to all Arousor owners and does not lose its backward compatibility with sessions using the previous version. Like the Distressor, the Arousor Rev 3 plugin emulates many classic transistorized, tube, and VCA-based compressors and adds features many engineers could only dreamed of for those vintage units. Immediately noticeable good things are the resizable GUI and the new orange-colored buttons for the Opto A and B compression modes allowing the “Opto circuitry” emulation to any ratio and many other settings to closely emulate the Teletronix LA-2A compressors. Arousor owners will notice orange indicators showing the attack and release times of the selected Opto mode. Furthermore in these Opto modes you will notice orange texts with parameter settings of: Det HP (side-chain filter), Sidechain parametric EQ, and both the 2nd Harmonic and Saturation controls in the Soft Clipping section. Arousor Rev 3 now has 12 ratio settings from: 1:1 to “Rivet” and includes a secondary layer in the Soft Clipping section using its “e” button. An awesome and musical feature is the new Wet/Dry Mix knob that has also has an “e” button to access the Dry Level Trim. This is great for percussion compression to get just right the “spank” yet retain clarity! Arousor Rev 3 is available for purchase as an AAX and AAX-DSP, AU, VST2/3 for MacOS (10.7 or higher) and Windows PCs (7 or higher) for $199 MSRP download. I’m very excited to add this extremely versatile tone shaper to my AAX-DSP plugin collection for use in large Dolby ATMOS mixing work! empiricallabs.com/product/arousor 10

September 2021

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September 2021

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– BARRY RUDOLPH barry@barryrudolph.com

GROOVETECH MINI-MULTI GTMM2 The GrooveTech Mini-Multi is their latest and the world’s smallest multi-tool and also my favorite! It easily fits in my pocket—it also could be part of my keychain it is so compact. This Mini-Multi consolidates fourteen tools into a body that’s less than three inches long. You get eight hex wrenches, four screwdrivers, a precision ruler (for measuring action and pickup heights) and most important, a bottle opener. The Mini-Multi concentrates on adjusting action, tremolo systems, intonation, pickup height, and other tweaks that can come up while you’re playing. It is great for everything except truss rods. Truss rod adjustments come from GrooveTech’s GTMLT1 multi-tool that handles five truss rod sizes in a slightly larger format. The Mini-Multi GTMM2 has hex wrench sizes in both metric and inch for use on most makes and models of guitars and basses. All tools are pro-grade and made to precision tolerances. The Mini-Multi GTMM2 sells for $11.95 and is available now. groovetechtools.com

DESKEW TECHNOLOGIES GIG PERFORMER 4 Gig Performer™ 4.0 is a software plugin host specifically for live performing keyboard players, guitarists, drummers, vocalists, and Front of House engineers who want to control either AU or VST plugins efficiently without using a conventional DAW. So you’ll have modular design with customizable controls, and visual plugin wiring, instant switching and lower CPU usage. Diving into a DAW running on your laptop while playing in front of an audience is not acceptable so GP adopts a visual approach with large easy-to-read screens that use a patch bay with cables, knobs and buttons to represent pedal boards or keyboard effect chains. The new Global Rackspace allows for sharing effects and instruments across every Rackspace—a Rackspace is a collection of virtual instruments, effects and parameters controlled via MIDI in real-time. The Global Rackspace is useful for media players, and plugins that run across song and set changes. Other new features with GP 4 are an expanded virtual wiring view that allows for quickly moving between details of specific connections with an overview of the entire layout. Collections of wired-together plugins can be saved as named favorites for easy reuse when needed. The new Curve Designer tool creates, scales, and customizes curves that can affect note velocities and other MIDI data, and much more. The MIDI File Player plugin works as a sequencer to hold up to 128 songs and can map individual tracks to different instrument plugins. Song tempo can drive Gig Performer’s global tempo to synchronize time-based effects such as delays; or use tap tempo to control file playback speed. Touchscreen laptops are now better supported, with an optional large touchpad for entering error-free values quickly, drag-tochange support, and easy tap tempo entry. Gig Performer 4.0 comes bundled with a sampler of synths, guitar amps and effects. For Macs and PCs, it sells for $169 MSRP. gigperformer.com

BABY AUDIO SMOOTH OPERATOR Smooth Operator is an intelligent signal balancer capable of creative effects, tone shaping and effective problem solving. It uses a combination of spectral compression, equalization and resonance suppression in an easy-to-use and understand interface with few controls. At first look, the resizable GUI appears as a four-band equalizer—its initialized setup has a straight flat line ranging from 20Hz to 20kHz with five click/ drag nodes. There are fixed nodes at the 20Hz and 20kHz extremes that only the Gain is adjustable. The larger middle Master node can be moved horizontally (frequency) and retains the relative distance of the nodes on either side of it. Pulling it downward increases compression around the other nodes. There is a Spectral Side-Chain mode that will compress the audio going through the Smooth Operator based on another track’s dominant frequency content. The spectral compression amount is monitored visually across the top of the GUI and displayed as an inverted shape compared to the waveform’s spectrum behind the 20Hz to 20kHz node line. I thought the spectral compressor is well thought out and it sounds transparent until you push it for effects. It seems designed with a good ratio, attack and release times settings built in. So far, I’ve been using Smooth Operator more as a vibey element/effect in mixes than as a problem solver. It is like an EQ but much more colorful when you crank it. I like it (so far) on mid-range BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He frequency instruments—electric pianos, especially funk guitar parts, has recorded and/or mixed Lynyrd Skynyrd, Hall & and synth pads. It also will kill ugliness anywhere and that will alOates, Pat Benatar, Rod Stewart, the Corrs and more. ways make my mixes sound better! What a fun plugin Baby Audio’s Barry has his own futuristic music mixing facility in North Smooth Operator is! Hollywood called Tones 4 $ Studios. He is a lifetime It sells for $69 as download for VST 2/3, AU, AAX host DAWs. Grammy-voting member of NARAS and a contributing babyaud.io/smooth-operator-plugin 12

September 2021

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editor for Mix Magazine. barryrudolph.com

September 2021 June 2021 May 2021 2021 August

musicconnection.com 13 5 musicconnection.com 171 musicconnection.com musicconnection.com

BOOK S T ORE Losing Our Minds

By Benno Barnard, Eddy Verloes, The River Curls Around The Town (hardcover) $26.47

With his background as an attorney, concert promoter and R&R Hall of Fame exec, the author details his admiration for the artists he admires, both the lesser-known (Chuck Prophet, John Fullbright) and the renowned (Bruce Springsteen, Jimmy Webb). Wightman writes about his advocacy for live music, and how he has forged special connections with scores of musicians over his lifetime, using his passion to bring artists and fans together.

Gods, Gangsters & Honor: A Rock n’ Roll Odyssey

Ska Boom!: An American Ska & Reggae Oral History

By Steven Machat (paperback) $19.95

By Marc Wasserman (paperback) $35.00

Machat’s memoir is a cautionary tale for anyone flirting with the idea of pursuing a music career. The manager-attorney shows how the glitter and glamor too often disguise a crude and cruel reality, and how he found himself wondering whether it is possible to maintain any sense of honor inside such a world. Frank Sinatra, Leonard Cohen, Freddie Mercury, Michael Jackson, Sharon Osbourne, Phil Collins, Suge Knight, Tupac, Biggie, Phil Spector, Donny Osmond, Bobby Brown, Peter Gabriel and others populate this occasionally ragged but consistently enlightening book.

Musician, podcaster and author Wasserman’s book is an exhaustive, extensive collection of interviews with the people who enlivened the scene. An obvious labor of love, the story is told through hundreds of hours of intense interviews with musicians, artists, managers, club promoters, writers, promoters, and the fans who were there at the dawn of the ‘80s through the early ‘90s. The Untouchables, Bim Skala Bim, The Toasters, The Uptones, The Scofflaws, Let’s Go Bowling, Mephiskapheles are just a few of the bands interviewed.

Bootleg Stardust

Punk Women: 40 Years Of Musicians Who Built Punk Rock

Set in 1974, Dixon’s colorful novel takes the reader on a journey through the height of the 1970s rock world, and follows the ups and downs of high-school dropout Levi Jackson, a red hot guitar player who lands an audition for a prominent band who are recording at London’s Abbey Road Studios. What ensues is a tale that demonstrates the power of music to bring people together—and break them apart—and the courage it takes to find your own voice while navigating egos, jealousies, and deceptions.

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By Alex Wightman (paperback) $18.00 (hardcover) $24.00

Poet Benno Barnard and photographer Eddy Verloes not only combine their own talents for this moody, captivating enterprise, but the whole project gels due to a critical third dimension: the included CD of music by the talented Dutch duo The River Curls Around The Town (one of MC’s “Top 20 Prospects of 2020”) who render Barnard’s poetry into songs that are as affecting and atmospheric as Verloes’ misty black & white images of Hassidic Jewish boys visiting a blustery winter beach.

By Glenn Dixon (paperback) $15.99

14 September 2021

Music In My Life: Notes From A Longtime Fan

By David A. Einsminger (paperback) $16.95

In his anthology-style book, Einsminger chronicles the contributions of special women who were able to scale the barricades of male-dominated punk scenes to make an impact on audiences. Poison Ivy of the Cramps, Siouxsie Sioux, Texacala Jones, Debora Iyall of Romeo Void, Lisa Kekaula of The Bellrays, and The Germs’ Lorna Doom are just a few of the women profiled.

September 2021 August 2021

musicconnection.com15 15 musicconnection.com

– JONATHAN WIDRAN

TRUBIFY trubify.com

"THE SONGWRITING COMPETITION TO TAKE NOTE OF..." NEW YORK TIMES

$150,000 CASH AND PRIZES

COLDPLAY • LINKIN PARK • THE LUMINEERS TOM WAITS • BEBE REXHA • METRO BOOMIN BLACKBEAR • ARTURO SANDOVAL • CAMILA HOZIER • NANCY WILSON • NEEDTOBREATHE TREVOR DANIEL • LAURA PAUSINI • DAVE KOZ GEORGE THOROGOOD • PARMALEE • AND MORE

WWW.SONGWRITINGCOMPETITION.COM

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The Age of the “Digital Troubadour:” With a catchy name that reflects the digital age’s equivalent of artists traveling around and sharing their talents from town to town, Trubify is a groundbreaking live music streaming and social media app offering musicians a platform that—unlike other mainstream apps with streaming capabilities—can generate significant revenue while allowing fans to discover, share and support their favorite artists. Currently in the beta testing stage, the app––free to both fans and musicians––will officially launch in 2022. For founder Stephen Tyszka, it’s the culmination of a successful dual career in the music and technology realms. Trubify Founder’s Eclectic Background: After years of working as a songwriter, vocalist, Motown session guitarist and owner of several music production studios, Tyszka shifted into app development, collaborating with fintech founder and Chairman of Acorns (a micro-investing company) Walter Cruttenden and veteran gaming developer Paul Sams. At one point, Tyszka was brought on board to help launch Pharrell Williams’ music.com, a repository of “stories behind the songs,” but Tyszka was frustrated that there were still no apps dedicated to helping artists fully monetize their talents––which became a key selling point for Trubify. Quote from Stephen Tyszka: “The Trubify concept was something I had been thinking about for years––how to digitally mobilize the artist community and enable them to monetize their music,” he says. “Two years ago, I was on the beach in Costa Rica, jotting down problems of the music industry which could be solved by tech. I felt that some of the biggest challenges that music artists face had viable solutions, and with my previous experience in both industries, I could develop a meaningful product. The Trubify app is free and provides artists with the opportunity to monetize their music, rather than just pocketing a few dollars.” Tipping and Cover Songs: In addition to the opportunity for artists to earn two cents per live viewer and one cent per viewer of the archived content, Trubify is the first music app to integrate in-app purchase technology, which is common in gaming. Thus far in the beta testing stage, users have embraced the tipping feature in much greater numbers than anticipated, embracing the immediacy of connection to their favorite artists and in some cases starting “tipping wars” as viewers from across the country share the experience. Another unprecedented feature is that content creators can earn revenue with cover songs owned by the current publishers. Trubify works with the performing rights organizations and music publishers to secure and pay all licensing fees so the artist doesn’t have to. When a Trubify artist performs a cover, it will not be pulled down or demonetized as it is on other platforms. Trubify will also serve as a “digital concierge/digital manager”; the app makes it easy to schedule performances, “go live” for impromptu performances, or upload prerecorded content. The app even generates promotional assets that the artists can share to their social media. Corporate Branding: In addition to connecting artists with fans, Trubify also facilitates engagements between artists and top brands, with an AI-driven match-making capability that can establish partnerships between brands and musical influencers. The app is currently working with instrument and music technology companies like Moog, Taylor, Kala and Sweetwater, but Tyszka anticipates there will be larger corporate sponsors over time. For artists and users, Trubify generates 800 data attributes that helps identify core brands that want to work with artists to create innovative revenue streams. Contact Trubify, 949-599-8828

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LCD Soundsystem Side Project: Museum of Love LCD Soundsystem offshoot Museum Of Love has released its first new album in seven years, Life of Mammals. The project consists of Pat Mahoney, co-founder and drummer of LCD Soundsystem, and Dennis McNany, known for his production work as Jee Day. The album was produced/recorded between Mahoney’s LCD touring commitments and was mixed by LCD frontman James Murphy.

Bnny Hops With “Time Walk” Chicago-based Bnny, led by Jess Viscius alongside her twin sister Alexa, plus best friends Tim Makowski and Matt Pelkey, is Fire Talk’s newest signing. Lead single “Time Walk” is featured in the finale of the new season of Hulu’s Shrill, among other prime TV placements.

Rochelle Plays with Changes For Los Angeles-based artist Rochelle Jordan, a desire for sonic expansion has been embedded into her fusion of futuristic and soulful R&B. Jordan blends sampledelic ‘90s pop, vintage U.K. house and garage, 31st century electronic bangers, airy late night ballads, and progressive hip-hop. On her latest album Play With the Changes, Jordan showcases her own personal evolution and a path to pushing sound forward.

Ex Deo, Rome and Nero Montreal-based symphonic death metal band, Ex Deo, is a side project of Kataklysm frontman, Maurizio Iacono. The music (and costume armor) is based on the history of the Roman Empire. After a short hiatus and years spent recording new material, Iacono and co. released The Thirteen Years of Nero on August 27.

Producer Playback “I approach everything like I’m making a record. I’ll get as much as I can out of each artist in an hour and that’s what it’s gonna be.” – Bill Appleberry (The Voice)

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– JOSEPH MALTESE josephm@musicconnection.com

Libra at SirTiger Studio Brazilian indie-pop artist Libra recorded his latest singles “Flakey Town (featuring Elyse Cizek)” and “Summer Night (featuring Marnie Price)” with Will Golden at SirTiger Studio. The songs were mastered by Mark Chalecki. The brainchild of musician Zeh Monstro, Libra was born out of six years of observations by an outsider looking in, a South American taking on what it means to live, love and party in Los Angeles.

Roomful of Teeth at The Tank Grammy-winning vocal band Roomful of Teeth have released a new single “Fall Into Me.” Arranged by Teeth’s Dashon Burton, “Fall Into Me” was written by German-Turkish composer Alev Lenz, and recorded in The Tank—an 80-year-old seven-story Corten steel water tank in Rangely, Colorado, known for its otherworldly acoustics.

Jason Chu and Alan Z Release Face Value Rappers jason chu (pictured) and Alan Z released Face Value, a hip-hop album and multimedia project that shines a spotlight on the history of the Asian American community. Face Value includes collaborations from a diverse team of East, Southeast and South Asian women and men creatives, including Ronny Chieng, Dante Basco, Ruby Ibarra, AJ Rafael, Zeda Zhang and more. The record touches on a wide range of issues, including immigration, American racism, and gender.

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PRODUCER CROSSTALK

– ROB PUTNAM

ADRIAN GURVITZ

roducer Adrian Gurvitz began his career before many multi-Grammy winners were even born. A lifelong guitar player, his introduction to performance was as a street busker in London. His first hit “Race with the Devil” came in 1968 with his band The Gun. Following that, he was invited by Buddy Miles to tour America, where legendary drummer Ginger Baker invited him to form Baker Gurvitz Army. Later he found that he had a talent for production and finding artists with promise. One of his recent discoveries is singer Andra Day, and together they collaborated on her Grammy-nominated debut Cheers to the Fall. With respect to established artists, he counts Stevie Wonder, Chicago and Steve Perry among his successes. Gurvitz often produces and then shops talent to labels. “For the last decade or so I’ve enjoyed developing artists,” he observes. “I wasn’t making records on my own anymore, but I still needed an outlet. I try to find ones that I can work with and they’re usually completely unknown. I was out picking up some pizzas one night when I ran into Kai Milla, Stevie Wonder’s [then] wife. She showed me Cassandra Batie [Andra Day] on YouTube. I reached out to her and we spent nearly a year making 27 songs. She went on to have her debut nominated for a Grammy. “For the most part, artists come to me,” he continues. “I have a fiftyyear name behind me. A young woman [with the stage name of King] came from Utah and literally knocked on . . . lessons he’s learned as my door. I loved her voice––a cross a producer are: between Erykah Badu and Sade–– and we’re about halfway through her • You’ve got to have the right album now. It was hard to find the song first. If you don’t, invariright direction, but after seven months ably it’s not going to work. I found the perfect song for her.” • Have a great singer. Without One of his favorite studio anecone, you’re compromised dotes is of the time when he was from the start. working with British artist Pixie Lott. For the track “Stevie on the Radio,” • Have the patience to put it all he’d invited longtime friend Stevie together and bring it home. Wonder to guest on harmonica. “She was here at 11 a.m. waiting with baited breath,” Gurvitz recollects. “Stevie called and said he’d be here at 1. Later he called to say he’d arrive at 3. This went on until about 11 p.m. when I called [Beverly Hills restaurant] Mr. Chow, where he often eats. He was there and said he’d be at my studio by midnight. He didn’t show and I went to bed. At 3 a.m. he called and was outside. I let him in and presented a harmonica I’d bought especially for him. He didn’t like it and pulled out a giant one from his back pocket. He got it in one take. But he had one note he didn’t like and wanted to drop it. He got it dead perfect on the second take. Some time after that, I was at dinner with him. Pixie was there with her mother, so I brought her over and introduced them.” Artists have long held a reputation––fairly or not––for being temperamental and, indeed, difficult on occasion. One of Gurvitz’s more memorable challenges is when he’d flown in a singer from England to record some tracks. “I picked her up at the airport, brought her to my studio and that’s when she told me that she didn’t sing in front of people,” he recalls. “I took her back to the airport and sent her home.” Artists he’s developing and aims to pitch to labels once the wrath of the pandemic has been appeased include English R&B singer XAHLI and alternative artist Buel. Although he’s worked at spaces throughout the world including Abbey Road, Gurvitz now creates largely at his pro-grade home studio that’s awash in vintage gear. Contact AGM/LONMAN, singndance@mac.com, adriangurvitz.com

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– ANDY KAUFMANN

Rosabelle Eales

are a community. My whole roster works with each other in some sort of creative capacity. I’ve met with incredible artists and have come away being like, “I don’t know if I’m the best person to serve you. How can I help you find another manager?” And I’ve met with people who I’ve felt deeply connected and have to work on their project.

Owner/Manager Overall Management

Years with Company: 6 Address: Los Angeles, CA Web: overallmgmt.com E-mail: info@overallmgmt.com Clients: Gnash, Imad Royal, Girl Wilde, Alexmaax (Max Hershenow), Ilan Rubin, Joe Rico

Unsolicited Artists I listen to everything that gets sent to me. Because we are such a small company, when it comes to taking on talent we have to be a little more selective. I need to make sure that everyone I’m representing is getting the level of attention they [need]. I wouldn’t necessarily say we’re actively looking for talent, but I wasn’t looking for talent three clients ago.

BACKGROUND Rosabelle Eales started working in music when she was 18. By 2016, she owned her own management company at the tender age of 23. Now 29, she’s more thankful than ever to be serving artists. Discovering the Industry I’ve always joked that the music industry found me, way more than I found the music industry. Music’s always been a big part of my life. I never really [knew] that you could work in the music industry. That wasn’t something I grew up understanding. In high school, I helped open a music venue; I was booking shows. I didn’t recognize that it could be a career path. When I went to college, I was trying to choose what major I wanted. I saw that you could do music business, and I was like, what does that mean?

Working Together I don’t ever want to be the hardest working person on an artist’s team. If we’re all firing at 100[%], that’s how [we create] massive success. So I look for people who have vision, ambition, drive… It really is based off of [whether it feels] like you’re going to bust your ass, because I’m going to do that for you. And if so, how can we support each other? What is the vision? Is it something I can help grow and develop?

“I wouldn’t necessarily say we’re actively looking for talent, but I wasn’t looking for talent three clients ago.”

Work Over School When I was 21, I got offered a full-time job working in L.A. That was the summer between my sophomore and junior years of college. I was really confused, because I wanted to drop out and take this job, but you’re taught that’s not the right thing to do. You’re supposed to get a degree. And my dad was like, “You’re in college studying the music business, and you’ve been offered a job in the music business. Why would you not take that?” So I did. Building a Company Around Values My parents were both small business owners, so owning a business was not something that felt intimidating. When I stepped out of being a tour manager and into more of a management role, I never was like, “I’m going to start my own company.” The issue was that I didn’t see any companies doing [management] the way I wanted, which was very grassroots, familyoriented, and collaborative. And I was blessed that my first client, gnash, had a Top 10 radio record, so I had the financial autonomy to do what I wanted. And what I wanted was a company that followed my values. Always Learning Dana Dufine, who works at AEG, is a mentor of mine. She’s someone I go to for advice and perspective. If you want to get into management, pick out a mentor or someone you can learn from. Although I’ve taken on being more of a mentor than a mentee, I’m always looking for opportunities to learn from people. [Management is] not something that can be taught as much as something that has to be learned. Finding people you can absorb knowledge from is massively important. Managerial Qualities I have an elephant’s memory. I’m very 22 September 2021

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organized. I’m meticulous. But what makes me a great manager is I’m deeply compassionate, empathetic, collaborative, loving, honest and kind. That’s how I approach my relationships with clients. I work hard to represent them, and make sure my values are lining up with theirs. I see people as people, not just commodities. Employees, Clients, and the Pandemic The company is three people––it’s me and two employees. I have independent contractors who I work with. I’ve been thinking about hiring someone else. That’s something I’m going to look into in 2022. Right now, the goal is recalibrating after the pandemic and making sure everyone’s on steady footing, although we ended up taking on two new clients during the pandemic, and a new client right before [it started]. Being Physical and Virtual I have a physical space in L.A. I share it with a phenomenal manager. As much as it’s a money pit, we keep it because we love it. During the pandemic, we went virtual pretty quickly. As things were opening up, I asked both my employees what they wanted. How did they feel their workflow was affected? Were they happy? My role as an employer is to lead this team to greatness, but it’s also to understand what they need to be successful. And I felt no change in our workflow by going virtual. Building a Family of Artists Most of my artists come by recommendation from a trusted party––lawyers, managers, publishers, agents. Normally when I’m taking on a new client, the biggest thing I look for is [if it’s] going to compete with someone else on my roster. I’m not going to take on a bunch of similar clients who will split opportunities. I want all my clients to be able to stand in their own space and feel like they’re supported. I look for people who love the values of the company and want to be part of it. We really

Losing Artists [An artist left me] at the beginning of the pandemic. Prior to that, I had never had a client leave. This client felt there was another team that was more suited toward their business. When that happens, you just have to respect it and be as helpful as you can during the transition. There’s nothing you can do. It’s the same thing if someone breaks up with you. You have to be like, yes, I respect that. Management is one of the most important vocations [in the music industry]. You’re trusted with someone’s art. They give this to you and say, “I’m trusting you to take this into the world in a way that properly represents me while also growing my business. Please don’t fuck it up.” And if someone feels there’s someone that can better represent their art, I respect that because it’s not about me. Entering the Boys’ Club I want to see more women managers. We are seeing a rise of women in the music industry, and I love it. I don’t always see that same rise in management. There are incredible women managers who kick ass every day; there just aren’t enough of them. We have opened opportunities to women, while management has continued to be a closed door. I have to fight way harder to be taken seriously than any of my male counterparts. It’s not overt sexism. It’s these deeply sown seeds of misogyny in an industry that, for so long, was fundamentally run by men for men. Being Grateful The older I get, the more grateful I am that this is what I do. When I was younger, I took it for granted. As I’ve gotten older, I’m just like, how amazing is it that I’ve gotten to build this company and incredible life off of music? I went to college for two years and didn’t graduate, yet I own a very successful business. In what other industry can you do that?

– BRETT CALLWOOD

OPPS

Nickelodeon wants a Manager, Music & Talent. They are seeking an enthusiastic, hardworking, music lover to join the Nickelodeon Kids & Family Music Department! This full-service team acts as an in-house record label and handles everything from music creation, music releases, and developing music artists for the Nickelodeon Kids & Family brands within ViacomCBS. This role is based in Hollywood, CA. Apply at ViaComCBS Careers. United Talent Agency is looking for Music Brand Partnership, Hip-Hop. The music brand partnerships team is a marketing division responsible for creating nontraditional sales and marketing partnerships for UTA’s roster of music artists. The Music Brand Partnerships & Strategic Marketing Executive is responsible for creating and managing brand and agency partnerships for UTA Music’s Global Hip-Hop roster. Apply at LinkedIn. Netflix needs a Music Business Developer, Series. The newly formed Music Business Development team leads Netflix’s global original music distribution strategy (i.e. soundtracks) partnering closely with teams across Music Creative Production, Music Business and Legal Affairs, Marketing, Publicity and others to identify ways to make the great music in Netflix films and series around the world come to life outside of our ecosystem. They work closely with internal and external partners to further the brand equity of Netflix titles through music while creating member joy. Apply at LinkedIn.

For More Career Opportunities, check out musicconnection.com daily. And sign up for MC’s Weekly Bulletin newsletter.

LABELS•RELEASES SIGNINGS

Pop prodigy AVIV has signed with Photo Finish Records. The 15-year-old Toronto singer and songwriter will release a remix of her indie hit “Black Coffee” for her first single on the label. “With COVID, a lot of my friendships and my friends’ romantic relationships just came to a full stop,” AVIV says. “People drifted. When you pour out your cup of black coffee, there are all of these grains in the bottom that stay there.” Contact ellyn@ e2pr.biz for more info. Crust punk project Bastardur sign to Season of Mist Records. Bastardur is the side project of Sólstafir singer-guitarist Aðalbjörn “Addi” Tryggvason. The debut album, Satan’s Loss of Son, will drop in November. “Four years after writing the first riff, two years after the main recording session, I am super happy to finally unleash this album into

Watershed is Back The Watershed Music and Camping Festival made a joyous return to George, WA, with Priscilla Block (pictured) among the highlights. Dierks Bentley, Tim McGraw and Thomas Rhett headlined. heavy metal land,” said Tryggvason in a statement. Contact katy@ season-of-mist.com for more info. Australian artist MAY-A has signed to Atlantic Records. Her debut EP, Don’t Kiss Ur Friends, is available now. “It honestly feels like a dream to be working with Atlantic Records,” she says. “I am so appreciative of the team I now have over there and I’m excited to delve further into creative ventures with them in the future.” Contact amanda@twntythree.com for more.

PROPS

Nashville singer-songwriter Cole Swindell celebrated his 10th career No. 1. Swindell was presented with an award after a surprise

appearance at the Whiskey Jam in Nashville. He was also recognized for having been streamed globally over 180 million times (adding to his over 4 billion global career streams), and having reached over 15 million in total U.S. track equivalents. Contact dixie@schmidtpr.com for more info. Gibson has launched a record label, and the first album will be from Guns N’ Roses guitarist Slash, featuring Myles Kennedy and the Conspirators. Gibson will work in partnership with BMG for the release. “Launching a record label that is in service to our artists is the natural evolution of our 127 years of history. Gibson Records will work with Gibson artists to capture, record and promote their

LITTLE GALAXIES

JEANNA FOURNIER OF psychpop band Little Galaxies has had a hell of a time. The singer had to endure years of healing following a serious car accident, and then just as she was back at full fitness, COVID happened. It’s been a constant battle for the band she formed with Amir Eshraghi in 2012. “2013 was our debut release,” says Eshraghi. “During that time, we became a couple.” “We started writing songs on the beach—we live in Venice,” adds Fournier. “We wrote our first album while falling in love, and enjoying the summertime.” They describe their sound as a mix of psychedelic pop and cosmic rock. Think Hawkwind-meetsLorde. Very song-based. “We like to explore other genres,” Fournier says. “We’re heavily influenced by folk, pop, rock and psychedelic music. We

feel like we meld all those genres together to create something of our own.” Their latest single is “Waking Sea,” from the forthcoming album One With the Waking Sea. “After we released our first album, I was in a car accident and we had to take a few years off for me to heal from my injuries,” Fournier says. “A lot of the songs on the album were written during that time and inspired by my car accident. I was unable to sing and play guitar for quite a while. Playing helped heal and get me to where I am now.” “I did years of voice therapy to get me back to where I am,” Fourier says. “I want this album to be inspiring to people who are trying to overcome something, heal and find peace when they’re dealing with ups and downs in their lives.” It’s fair to say that Little Galaxies

OJO DE LOBA

DIY Spotlight

Vixtex wants a Music Royalties Expert. Vistex Inc. seeks an experienced and enthusiastic Subject Matter Expert with a positive “can do” attitude to join their Solution Delivery Team in North America. The right candidate will be responsible for providing subject matter expertise and business analysis services and support for implementing Vistex’s software on its largest music projects, primarily for multi-national record labels. Apply at LinkedIn.

have been “doing it themselves.” They even started a record label, Coconut Spaceship, to get their new album out. “For years we had been writing all our songs, co-producing our music, producing our music videos,” says Fournier. “For the music video coming out next week for ‘Waking Sea,’ we partook in editing. That’s the first time we’ve done that. It’s about taking the

reins and constantly learning, so that we can have control over what we’re doing and make the art that we want without being confined. We also do a lot of the promotion ourselves.” Little Galaxies have some shows planned, and they’ll be releasing some more new music towards the end of the year. Visit littlegalaxiesband.com for all the info.

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– BRETT CALLWOOD music under an artist friendly partnership,” says Cesar Gueikian, Brand President, Gibson Brands. Contact lcoffey@primeprgroup.com for more info. Composers Benji Merrison and Will Slater continue their joint productions and are set to unveil further collaborative compositions, with BBC Dynasties II being released for the balance of 2021, and an additional project with David Attenborough—Green Planet—set for release in early 2022. First jointly commissioned in 2018 to score the soundtrack to the hit BBC series Dynasties, which received IFMCA, News and Documentary Emmy award nominations, their work as a duo also includes credits for Meerkat: A Dynasty Special.

THE BIZ

Capitol Music Group / Virgin have launched a new label partnership with Range Media Partners. “Range Media Partners is a home for creators and managers alike,” says Range Media Partners Co-Founder and Managing Partner, Matt Graham. “As a collective of experienced

The LEGAL Beat

managers who came from across the industry’s best companies, we benefit from a diversity of ideas, tastes and relationships that help to create a tremendous multiplier effect for our management clients and any artists that we partner with at our new Range Music label.” For more info, contact jaclynu@ grandstandhq.com. Primary Wave Music has launched “Industry Hour.” Primary Wave recently established a Racial Equality Task Force, and on June 29 it launched a video series called “Industry Hour.” It’s a five part series hosted by Primary Wave’s Lorena Garcia. The episodes are available to watch at Youtube. Contact kyle@rockpaper scissors.biz for more info. BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com

SRDF Fund Distributes Record $18 Million in Royalties The SAG-AFTRA and Industry Sound Recordings Distribution Fund (SRDF) almost doubled their annual payout to vocalists in 2021 to over $18 million. Paying vocalists royalties for their interactive streaming and licensed recordings under the SAG-AFTRA Sound Recordings Agreement, the SRDF expects substantial growth in distributions each year as the industry’s streaming revenue continues to grow. (Pictured) SRDF Fund Manager, Terry O’Neal, has worked with singers to get their residuals for over 30 years and used his experience to build a great team at the SRDF. For more information visit their website at saisrdf.org.

MUSIC ON TV IN THE AGE OF STREAMING

BY GLENN LITWAK broadcast TV for 3-5 years. This would lower the cost of the license and allow the producer to license more popular songs. Now, these old limited license deals have to be re-negotiated in the age of streaming. Back 20 or so years ago, many TV producers thought 3-5 years would be sufficient for licensing a song. After those limited licenses expired some of these popular TV shows ended up on streaming services but often the music had IF YOU WATCH some classic TV shows (The X-Files, Scrubs, or Bones) on streaming services such as Netflix, Amazon Prime or Hulu, you may notice that the original music used in these network or cable shows has been replaced. The obvious question is, why? When a show airs, the producers have to pay a license fee to use pre-existing songs on the soundtrack. If you wanted to use a famous song, for instance, by the Rolling Stones, it would be very expensive. So many producers, prior to the advent of streaming, would choose, for instance, a very limited license only for

quite expensive: in the range of $25,000-$50,000. Such a cost would not fit into a typical network or cable TV budget. This is why producers sometime use music from artists who are not signed to a record label or publisher. The producer can license the song quicker (less parties to deal with) and for less money. Of course, this presents an opportunity for unsigned artists to get exposure, even if the license fee may be minimal.

“[Streaming] presents an opportunity for unsigned artists to get exposure, even if the license fee may be minimal.” to be replaced. However, some songs are quite hard to be easily replaced based on the way they are used in the TV episode. And one of the reasons a show may have gained popularity is because of the music. When a song is placed in a TV show, the producer must “clear” it with the song’s composers and publishers and pay a license fee. Costs for popular songs can be

The cost of licensing a song will depend on such things as the use of the song, how long it is used, and the popularity of the artist and song. You may have noticed in some TV commercials and shows you hear a very popular song, but it sounds slightly different. The reason may be that, in order to save money, the producer has had the song re-recorded so that the original

master recording does not have to be licensed. Nowadays, because of these problems in the past, producers will insist on an “in-perpetuity” license which, as the name implies, rights are given up forever. This is not considered good news for composers because these deals require them to relinquish their right to any future royalties in exchange for a one-time payment. Netflix has done huge major deals with producers and showrunners (Martin Scorsese (The Irishman) Shonda Rhimes (Grey’s Anatomy, Scandal) for sums reported to be up to $300 million. Unfortunately, it seems streamers like Netflix have not shared their wealth when licensing music. GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@ gmail.com or visit glennlitwak.com.

This article is a very brief overview of the subject matter and does not constitute legal advice.

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– BERNARD BAUR

I Quit My Day Job Because I Make More Money From My Music. Matthew Vander Boegh, TAXI Member

hat’s every musician’s dream, isn’t it —quitting your day gig because you make more money with your music. Well, that’s my life now, and here’s how I did it…

I joined TAXI. Looking back, I wish I’d joined years earlier. TAXI taught me how to create music that people in the industry actually need. Then they gave me 1,200 opportunities a year to pitch my music!

My income keeps growing exponentially, and my music keeps getting better because it’s my full time gig now! Here’s the ironic part… I live in Boise, Idaho, not Hollywood, yet my music is on TV nearly every day. My studio is in a glorified tool shed in my backyard, and my gear setup is so quaint other musicians ask, “Really? That’s it?!” I’ve got a computer, monitors, a few mics, and a cheap little interface. No fancy outboard gear, no rack-mounted anything!

My Two Secret Weapons Targets and deadlines are my secret weapons. Knowing who needs music and when they need it motivates me to get things done. It’s changed my life! Actually, TAXI changed my life.

I’m getting paid for my music now instead of sitting on my couch dreaming about it. I’m my own boss, and some day my music will probably pay for my retirement, a vacation home on an exotic beach, and some umbrella drinks!

Don’t wait until you’ve built a catalog… Join TAXI now and let them help you build the right catalog! Be patient, be persistent, and you’ll hit critical mass like I have. My income keeps growing every year! I’m all the proof you need that a regular guy can make enough money with his music to quit his day job! Do what thousands of other musicians have done to become successful—join TAXI. You might never have to work another day gig in your life!

It Didn’t Take That Long I promised myself I’d quit my job as a college professor when my music income became larger than my teaching income. I reached that goal in less than five years because of TAXI. The World’s Leading Independent A&R Company

1-800-458-2111 • TAXI.com

September 2021

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FELICITY Date Signed: Feb. 8, 2021 Label: Adventure Cat Records Band Members: Damien Fagiolino, lead vocals; Andrew Rapier, guitar; Cory Nicholas, guitar; Mike Alosa, bass; Tyler Dennett, drums Type of Music: Alternative Rock Management: Dayna Travers, Katy Cooper - Brightly Management Booking: N/A Legal: Alexander J. Ploegsma, Esq. - Ploegsma & Shulman, LLP Publicity: Becky Kovach, becky@bigpicturemediaonline.com Web: wearefelicity.com A&R: Matthew J. Clarke

rom Orlando FL, Felicity is a band that has many things to be thankful for. They are signed to a new label, have partnered with an invested management team and have been going strong in their current incarnation for over five years now. But, perhaps, one of their biggest accomplishments is encapsulated in their present song “Hit and Run.” That and upcoming single “Pendulum” are part of a marketing plan where they are releasing a new song monthly, leading up to their official full-length album this summer. Formed in 2014, Felicity released their first independent self-titled album in 2015. “We followed that with an EP Brace Yourself in 2016, with producer Andrew Wade,” recalls Cory Nicholas. “That was our first really professional experience in a recording studio, with someone who knew how to write hit songs. We learned a lot from him. We spent the next year, essentially, writing the EP Old Habits. We went even further into the recording process with Wade. We released a music video for every song on that EP.”

“It was probably a year or so of us updating her on everything we were doing.” On the strength of Old Habits, Australian indie label Penultimate reached out to the band. That relationship, in addition to steady posting and promotion through Spotify and YouTube, got them the attention of Dayna Travers of Brightly Management. “About two years ago Dayna was on Spotify and heard one of our songs on a curated playlist,” says Nicholas. “She loved the song, checked out our profile and started listening to all our music. She reached out to Penultimate about us. And then it was probably a year or so of us updating her on everything we were doing. When we went into the studio to record our full-length album she proposed managing us.” Brightly Management assisted in the band’s pitching to labels, with Adventure Cat being one of the first that they contacted. “After we talked to some of the usual suspects, a lot of record labels were not signing any new bands until 2021,” says Andrew Rapier. 2020 was a hard year for many unsigned bands because, without touring, it was really hard for many of the labels to see a return on their investment. But Adventure Cat really believed in us and their resume speaks for itself. At the end of the day we wanna work with a team that believes in us as much as we believe in ourselves.” – Eric Harabadian 26 September 2021

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DJ BODEGA FLEE

Date Signed: Aug. 30, 2020 Label: Roc Nation Type of Music: Hip-Hop Management: Hugo Nunez - Roc Nation Booking: Brian Eduardo - Roc Nation Legal: Tim Mandelbaum - Fox Rothschild LLP Web: rocnation.com/music/bodega-flee A&R: Hugo Nunez

he year 2020 was quite monumental for Edwin Meregildo, aka DJ Bodega Flee. In April he became the DJ for Quarantine Radio by Tory Lanez, which was one of the hottest hip-hop radio shows of the pandemic. Four months after the Instagram Live series introduced him to mainstream hip-hop fans, DJ Bodega Flee signed a management deal with Roc Nation. As a new signee with Roc Nation, this touring musician has been given access to resources from one the most respected companies in urban music. “Roc Nation is a family. It’s not only just a company. This is something that you’re basically involved in for as long as you want to be involved. If you’re Roc, you’re Roc for life,” says the native New Yorker. His talent manager at Roc Nation (Hugo) has played a key role in his growth as a recording artist and the rollout plan for his debut EP, a collection of songs that DJ Bodega Flee hopes to introduce to the world this winter.

“You can put my songs in Spanish (genres) or hip-hop.” “I think the album’s going to be called The Bodega. I have a song with Jim Jones, Zoey Dollaz, 42 Dugg, Chucky73, Tory Lanez (and more). I got songs in the cut. I want to release them at the right time,” he says. “Basically, what I’m trying to do is put out something that represents me. I’m a Dominican kid that grew up in the Bronx. (The EP is going to be about) what I grew up on. People like Prince Markie Dee, Big Pun and Fat Joe. I’m a dude that can go both ways. You can put my songs in Spanish (genres) or hip-hop. And that’s dope, because people like us are the connection for hip-hop people to cross over to the Latin side.” Seven years ago, DJ Bodega Flee rose to prominence in Central Florida after becoming the only disc jockey in the area to receive airplay on two stations at the same time. Once he left Central Florida for Miami, his road manager (GP Radio) became highly instrumental in helping his unique blend of dancehall, hip-hop, reggaeton and bachata achieve even more notoriety. Today, DJ Bodega Flee is co-producing his upcoming project with Papi Yerr (Tory Lanez, Rotimi). With the support of Roc Nation, DJ Bodega Flee hopes that the success of his debut EP will lead to a record deal and a full-length studio album shortly thereafter. “I’ve been working on (the new EP) for about a year already. I like to have everything on point,” says the artist. “After the EP, we’re going to reach for the stars.” – Miguel Costa

SPRAY ALLEN THE GHOST CLUB Date Signed: August 2020 Label: N/A Type of Music: Alternative Rock/Pop Management: Kyle Esbin - Sprq Talent Management, esbin.kyle@ gmail.com Booking: N/A Legal: N/A Publicity: Bari Lieberman - bari@pressherepublicity.com Web: facebook.com/theghostclubofficial and instagram.com/ theghostclubofficial A&R: N/A

ittsburgh, PA singer-songwriter-producer and multi-instrumentalist Domenic Dunegan (aka The Ghost Club) writes songs that possess an infectious pop sense, are melodic and lyrically provocative. Singles like “All I Know,” “Same Graves,” “Antique” and many others deal with far-reaching themes, from the creative process to self-actualization, spirituality and various aspects of the human condition. The year 2016 was fortuitous for Dunegan. His father took him to a Bruce Springsteen concert and that performance changed him forever. “I’ve taken a lot of influences from Bruce,” says Dunegan. “A lot of my concept has been ‘How can that kind of music be made today?’” In launching The Ghost Club, a lot of Dunegan’s journey has been based on hard work and self-reliance. Via Facebook he found his first producer in Matt Squire (Panic! At The Disco, Ariana Grande). Squire cowrote a series of songs with Dunegan that garnered multi-million Spotify streams. That relationship led to partnering with Bad Suns, Mutemath producer Eric Palmquist in 2020. “Eric built a lot of confidence in me as a musician and creator,” says Dunegan.

“I was really getting burned out trying to do things myself.” Another major career touchstone arose with manager Kyle Esbin. “I was working at an agency and looking for artists to work with,” explains Esbin. “I found Dominic on Spotify. He also came up on Instagram and I started following him. I thought he had a lot of potential and I wanted to reach out to him. We talked a couple weeks after that and I’ve kept him moving forward and just trying to guide him in the right way.” “Kyle’s been great because it’s been very difficult to get enthusiasm behind certain projects you’re trying to do,” says The Ghost Club frontman. “This dude has really pulled this thing along and pulled a lot of strings to help me out. He helped me get back in the studio quicker and he put me in touch with Bari (Lieberman). I’ve never worked with a publicist before.” While Dunegan on recordings is, essentially, the prime mover behind The Ghost Club, he will work with other musicians for live shows. Current plans are to release a new single every two to three months, with an EP factoring into the mix sometime this summer. “I was really getting burned out trying to do things myself,” says Dunegan. “Kyle keeps me in line. Sometimes I’ll forget to do things and he’ll tell me to put my big boy pants on and get it done!” – Eric Harabadian

Date Signed: April 2, 2021 Label: 5 Music/Luscious Plum Band Members: Eric Wilson, Wade Youman, Eric Sherman, Daniel Lonner Type of Music: Psych-Rock Management: Mike “Cheez” Brown and Derek Gordon - Old Bull Management Publicity: Sarah Facciolo - Facci PR Web: facebook.com/sprayappeneverywhere A&R: Derek Gordon

he four men involved with new project Spray Allen have plenty of individual punk rock credibility. Bassist Eric Wilson was a member of Sublime, and is now in Sublime with Rome. Meanwhile, drummer Wade Youman was in Unwritten Law, while singer Daniel Lonner and guitarist Eric Sherman were both in Late Night Episode. “This band started around a year and a half ago,” Sherman says. “Me and the singer, our band broke up in New York and we just got a one way ticket to the West Coast. We started working in San Diego and then connected with Wade, our drummer. We went to Eric [Wilson]’s house, this awesome 17-acre ranch-style place. An adult Disneyland. We jammed and then went to the desert a couple of days later. We just hit it off. Pretty much just all lived together for the last year and a half. Really organic, started making music. Eventually, after covering our favorite artists like Misfits and Iggy Pop, we just started writing our own stuff. It just developed from there.”

“They were blown away by how hard we were working.” Sherman describes the Spray Allen sound as “new psychedelic”—a blend of old and modern with influences coming from the ‘70s and the ‘90s. That can be heard on the single “Stay Clean,” with production by Butthole Surfers guitarist Paul Leary plus Stu Brooks (Dub Trio) and Gabrial McNair (No Doubt). The song, Sherman says, has two meanings. “For adults, it’s ‘stay clean and try to make your mom proud,’” he says. “For kids, it’s ‘clean your room and listen to your mom.’ Just don’t be a dick.” The video for the single sees the four men playing dressy up and tackling the eternal battle between good and evil––a high concept indeed. “Daniel the singer is an angel, I’m a rabbi, Eric Wilson’s a priest, our drummer’s the devil,” Sherman says. “It’s harmonious between good and bad, all religions, it’s just everything. Everyone should come together and stay clean, be good. It’s also poking fun a little bit at all of those, as well. The devil’s trying to do these tricks and yet ultimately he ends up going back to hell where he came from. It’s a lighthearted way of telling everyone to stay clean.” Spray Allen recently signed on with Old Bull Management, a connection made through their work with Sublime with Rome. “We had met Old Bull before––we’ve hung out and become friendly,” says Sherman. “After making Spray Allen a thing, they heard the music and were really blown away. Especially considering that it’s not reggae. They were blown away by how hard we were working. We delivered 27 songs and I’m stoked that we’re finally getting them out right now.” With a double album and hopefully a tour on the way, things are looking sublime for Spray Allen. – Brett Callwood September 2021

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Publishing for Musicians

Bobby Borg and Michael Eames’ latest book release, Introduction to Music Publishing for Musicians: Business and Creative Perspectives for the New Music Industry, presents simplified, digestible and timely insights on self-publishing and releasing music for independent artists––including songwriters, producers, beat makers, etc.). With decades of industry experience, Borg and Eames demystify copyrights, types of publishing income, publishing companies and types of deals, as well as creative matters and the future of the music publishing world. More at amazon. com/author/bobbyborg.

Warner Snags Barker and Dugg Whet Signs Virtual Warner Music Group’s pan-Asian dance label, Whet Records, has made history signing the first label deal with virtual artist, Ha Jiang. Known as a “virtual Idol,” (social influencer/model), Jiang has over 100,000 followers in China and will be paired with hit songwriters and producers.

Isaak Under The Wave Chris Isaak has sold a 50% stake in his masters to Primary Wave Music. The deal covers his biggest hits, including “Blue Hotel,” “San Francisco Days,” “Baby Did a Bad, Bad Thing,” “Somebody’s Crying,” and “Wicked Game.” The partnership includes a $30 million recording contract with Sun Records.

Dio’s Rainbow In the Dark The autobiography of Ronnie James Dio is now out via Permuted Press. Co-written by journalist Mick Wall and Dio’s long-time manager and widow, Wendy Dio, Rainbow In The Dark covers the excesses and adventures during years as a sideman, singer, and eventually the frontman for three internationally renowned metal bands. More at premierecollectibles.com/dio. 28 September 2021

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Warner Chappell Music has signed musician, producer, songwriter and punk drummer, Travis Barker, to an exclusive global publishing deal covering work from his three-decade career. Known predominantly for his drumming with Blink-182, Barker has also worked with Transplants and +44, as well as navigating a solo career in multiple musical genres and cowriting/ producing songs for Machine Gun Kelly, KennyHoopla, Bebe Rexha, and others. Detroit hip-hop artist, 42 Dugg has also signed with Warner, for a co-publishing deal alongside CMG (Yo Gotti) and RPF (Lil Baby) record labels, who signed him as a joint venture. Dugg’s latest album, Free Dem Boyz, includes collaborations with Future, Lil Durk, EST Gee, Rowdy Rebel, Fivio Foreign, and Roddy Ricch––with Ricch’s collaboration on “4 Da Gang” landing on Billboard’s Hot 100 and Hot R&B/Hip-Hop Songs charts.

Nashville Songwriters Hall of Fame

The Nashville Songwriters Hall of Fame have announced their inductees for 2021, which include Toby Keith being honored as songwriterartist for his songs “Should’ve Been A Cowboy,” “How Do You Like Me Now?” and “As Good As I Once Was,” and Amy Grant as veteran songwriter-artist for her songs “Baby Baby,” “That’s What Love Is For” and “Tennessee Christmas.” Rhett Akins and Buddy Cannon are being inducted in the veteran songwriter category for Akins’ songs, “That Ain’t My Truck,” “Honey Bee” and “It Goes Like This,” and Cannon’s hits “Set ‘Em Up Joe,” “I’ve Come To Expect It From You” and “Give It Away.” John Scott Sherrill will be inducted into the veteran songwriter category for “Wild and Blue,” “The Church of Cumberland Road” and “How Long Gone.” The latest award recipients will be honored and officially inducted at the Nashville Songwriters Hall of Fame Gala on November 1 at the Music City Center. Due to the 50th Anniversary celebration being postponed last year, this year’s event will also honor inductees from the Class of 2020, including Steve Earle, Bobbie Gentry, Kent Blazy, Brett James and Spooner Oldham.

ASCAP on Demand

The 2021 ASCAP Experience conversation with Chris Stapleton and Dan Wilson can now be found on demand on YouTube after ASCAP Experience’s inaugural watch party. Stapleton and Wilson discussed lessons learned and their process of co-writing, covering topics including how to find confidence when presenting a song, writing etiquette, songwriting splits,

Hollis Commemorates Lee Grammy-nominated singer-songwriter Hollis pays tribute to the late Grace Lee Boggs, Chinese-American social activist, philosopher and author, in her latest release. Single, “Grace Lee,” was inspired by Lee’s fearless approach to life and commitment to fighting for what’s right without limits.

– ANDREA BEENHAM

fostering collaborative creativity, and much more. With experience including writing hits for Halsey, Justin Timberlake, Adele, Kenney Chesney and others, the seasoned writers offered a wealth of experience.

McKenna’s Concord Creative Pulse

Multiple Grammy-winning artistsongwriter Lori McKenna has signed a combination deal with Concord Music Publishing, Creative Nation and Pulse Music Group to co-publish her future works. With Grammy, CMA and ACM Songwriter of the year awards, McKenna has worked with Little Big Town (“Girl Crush”), Tim McGraw (“Humble and Kind”), The Highwomen (“Crowded Table”) and has released 12 solo albums. Credits also include Carrie Underwood, Miranda Lambert, Faith Hill, Hunter Hayes, and others, as well as co-writing “Always Remember Us this Way,” as featured in 2018’s A Star Is Born.

Big Loud Gets Louder

Big Loud Records is growing its team and promoting existing team members, with Stacy Blythe being promoted to SVP, Promotion (previously VP Promotion), Ali Matkosky advancing to the VP Promotion role (from National Director Promotion), Tyler Waugh moving to the National Director position (after five years as Director Southeast Promotion), and Sarah Headley moving to Director Southeast Promotion (following her role as Promotion Coordinator). Delaney Rogers moves from Executive Assistant to Big Loud Partner/CEO Seth England over to assisting Blythe and Kelly Brock has been added as Promotion Coordinator (after roles as an on-air radio personality at WKDF Nashville and WUSY Chattanooga). Aubrey Wilson has also joined as Data & Analytics Coordinator

BMI Christian Awards

Broadcast Music, Inc. proudly congratulated this year’s Christian Music Award winners for their talents and uplifting songwriting. Song of the Year went to “Way Maker” (Sinach/Capitol CMG Publishing), Songwriter of the Year went to Ethan Hulse (his third year in a row) for “Rescue Story,” “Stand In Your Love,” and “The Father’s House,” and Publisher of the Year went to Capitol CMG. BMI paid tribute to 17 first-time Christian Music Award winners with an award going to the Twenty-Five Most Performed Christian Songs of the Year, which included nods to songs including, “The Blessing,” “Holy Water,” “Burn The Ships,” “Together,” and others. Full list of winners at bmi.com.

2021 WCS Winners

The 2021 West Coast Songwriters International Song Contest winners have now been announced, including Alternative song winner, “Feel Something” by Jessica Lindsay, Rock song winner, “Damned If I Know” by Kevin Beadles, R&B song winner, “Constant Reminders” by Iari Melchor, Country song winner and Grand Prize Runner Up, “That Bakersfield Sound” by Rebb Firman, and Pop and overall Grand Prize winning song “I’ll Wait For You” by Joshua Warren. Full list of winners at westcoast songwriters.org/winners.

ANDREA BEENHAM (aka Drea Jo) is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadian-raised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com

Milk & Honey for Andrews On the heels of huge success with three BTS singles––and with credits including work with Benee, Little Mix, Drake, Jennifer Lopez, Jessie J and others––songwriter-producer Jenna Andrews has been signed to a management deal with Milk & Honey Music, with Lucas Keller, Nic Warner and Chad Wes at the helm.

Kaylee Rose at The MLC Songwriter Kaylee Rose recently stopped by the offices of The Mechanical Licensing Collective (The MLC). Rose met with The MLC’s CEO Kris Ahrend and Chief Marketing Officer Ellen Truley (pictured) to officially become an MLC member and work on organizing her song catalog for registration with the organization.

2021 SESAC Latina Music Awards

With two new categories for this year’s awards, SESAC Latina was honored to recognize two musical genres within each award category. Winners for Composer of the Year went to Edén Muñoz in for Regional Mexican music and Manuel Turizo for Pop/Latin Rhythm. Song of the Year went to Christian Nodal for “Se Me Olvidó” in the category of Regional Mexican music, and Ñengo Flow for “Safaera” in the Pop/Latin Rhythm category. Latina Publisher of the Year went to Dulce Maria Music for the Regional Mexican music category and Sony Sounds for the Pop/Latin Rhythm category.

Engelhardt Seeks Slumber Film/TV composer Cheryl Engelhardt has released a followup to her widely touted 2020 new age album, Luminary, with her latest release: A Seeker’s Slumber. The new age lyrical fusion album is designed to induce deep, powerful sleep.

Icons Make You Feel Things The EP Songs to Make You Feel Things is the latest release from pop duo Icons 2 Ashes. The group is comprised of Noah Becker, a composer/producer with multiple No. 1 Billboard Dance Club hits, and Matt Baggiani, President of AdRev Digital Rights Management. September 2021

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ATTENTION MUSICIANS!

Win Awards: Best Male Artist, Female, Group... Music Industry Exposure, Radio Airplay & get featured here like our winner this past year: Rod Abernethy Rod Abernethy

“I was blown away to find out I won these top awards from the IAMA. Being recognized among some of the world’s most talented music artists is such an honor. The competition this year in all categories was incredible and I still can’t believe I won the Overall Grand Prize and the Best of Folk/ Roots. It’s a day that I’ll never forget – thank you IAMA!” Rod Abernethy, Top winner of 17th Annual IAMA (International Acoustic Music Awards)

Submit Your Application NOW. Immediate action is requested, take your music to the next level. Entering the contest is your FIRST STEP to making a bigger impact.

HURRY! Enter at www.inAcoustic.com/mc

– ANDREA BEENHAM

Trishes

Authentically Expressed

elivering spoken-word, live looping and vocal effects––in combination with hip-hop beats and original pop hooks––Hosein performs her one-woman show under the moniker, Trishes. The name is a nod to Sigmund Freud’s theory of constructs (Id, Super Ego, Ego) and Hosein uses her looper pedal and vocal processor to give a unique voicing to each part of herself. Having witnessed first-hand the challenges faced by immigrants and other underserved communities, Trishes has a lot to say. Born in Trinidad as the youngest in a large extended family, Hosein was encouraged to perform from the age of three and quickly fell in love with it. Piano lessons and writing pop songs began shortly afterwards, before moving to the United States at age seven, but American media messages implied that “brown girls” should remain quiet and studious, and Hosein began to doubt her place in music. When her lyrics were stolen and read aloud to students in her school cafeteria, it took Hosein five years to feel safe enough to start performing again. “After I moved to the U.S., it was the first time that I consciously thought that if I wanted to do this for a living, people have to want you to do it,” she shares. “It took until middle school to feel like it was something I was allowed to do.” A performance of Christina Aguilera’s “Beautiful” in seventh grade reignited her passion. After attending an arts high school in San Diego, Hosein went on to study at the Berklee College of Music, inspired by the stylings of Björk, Regina Spektor and Fiona Apple. Moving to Los Angeles after college, Hosein still found herself trying to deliver the “socially appropriate” version of herself, and began asking “what makes you different and what do you have to say to the world that is important and that only you are uniquely positioned to say?” A college class introduced her to tabla-style voicings, sparking her love of vocal effects––and creating with the looper pedal presented a way to make a big sound while disrupting the subconscious pull of conformity: Trishes was born. Touring followed across the States and internationally and Trishes has performed at SXSW and the Cannabis Cup, and has opened for Damian Marley, Vic Mensa, K. Flay, Neon Hitch and Gavin Turek. Recently featured by MTV/VH1 India for World Music Day: Lift Up, she had a full-circle moment playing Linda Perry’s Rock-NRelief concert this year (Perry composed/ produced Aguilera’s song “Beautiful”). Debut EP Ego was released in 2019 as a museum-style experience, with participants checking out headphones for an audio tour of the album, alongside Hosein’s spoken word, essays and physical art pieces. She loves immersing listeners in her projects and is committed to building community through music, as well as those she serves through volunteering. Hosein concludes that, “At the end of the day when I think of who I want to be, I think of who would make my parents proud. In my family, we really measure value in love and service, so I'm proud that I continually make space for serving in my and in underrepresented communities.” Hosein volunteers with refugees in Los Angeles, works with Rock ‘n’ Roll Camps for Girls, and serves on the Board of Elder Entertainment Organization. Full-length album The Id arrives next month, expressing exactly what Hosein wanted it to. It explores fear, shame, anger and violence––especially around expectations we put on ourselves and others. Hosein’s directorial debut for the “Gaslight” video (which premiered on NPR’s All Things Considered) was filmed remotely during lockdown, and tracks for the new record include “Venom,” “Big Sunglasses,” and “Animal”––the latter introspective having launched the project. For up-and-comers, Hosein says, “The thing I wish I had told my younger self would be to lean into the things that made me different. The best art is about unique perspective––and you need to figure out why your perspective is unique. That is not only what art needs, but that's what the world needs. That's how we create change; that's how we make breakthroughs.” Contact Fiona Bloom, The Bloom Effect, fiona@thebloomeffect.com See Trishes.com

30 September 2021

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September 2021

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32 September 2021

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There’s a better way to memorialize your music assets. U N I T E D

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September 2021

DROPS

Heavy metal music comedy film Electric Jesus, starring Judd Nelson (The Breakfast Club) and Brian Baumgartner (The Office), will be released Nov. 2. Written and directed by Chris White from an original score by Daniel Smith, the film chronicles the story of the fictional Christian hair metal band 316, whose members spend the summer of 1986 playing rock music meant to “make Jesus famous” and opening for Stryper. In 2020, the film took Best Narrative Feature at the Fayetteville Film Festival and Rome International Film Festival, as well as Best Picture and Best Director at the Orlando Film Festival. Music from the film is out now. For more information, contact Monica Hopman at monica@sideways-media.com.

BILLIE EILISH touring and influences. This season launched with an archival concert by the late Glen Campbell from a 2008 performance at the Troubadour in West Hollywood. For further details, contact Ebie McFarland at ebie@ebmediapr.com.

Renowned DJ and seven-time Grammy winning artist and producer Mark Ronson has released an accompanying soundtrack to his Apple Original docuseries Watch the Sound With Mark Ronson on Apple+. The six-part docuseries explores sound creation and groundbreaking technology in music through intimate conversations with Paul McCartney, Questlove, King Princess, Dave Grohl, Ad-Rock and Mike D from the Beastie Boys, Charli XCX and more. At the end of each episode, Ronson debuts a piece of original music using the technology and techniques discussed in the series. The series is produced by Oscar-winning producer Morgan Neville. Contact Alaina Yorey at alaina.yorey@ ledecompany.com for further details. The critically acclaimed live music series Front and Center returned Aug. 1 for its 10th season, featuring an all-star lineup that includes Dustin Lynch, Brantley Gilbert, Old Dominion, Lady A, Maddie & Tae, John Hiatt with Jerry Douglas and special guest Tommy Emmanuel, and Sangeeta Kaur with special guests Jon Anderson and Jake Shimabukuro. The series features a genre-spanning variety of emerging and seasoned artists showcasing their work in between candid conversations about their craft, 34 September 2021

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The original motion picture soundtrack for the animated musical feature Vivo dropped Aug. 6, featuring original songs written and performed by Hamilton creator Lin-Manuel Miranda. Directed by Kirk DeMicco, Vivo is about a musically gifted kinkajou, voiced by Miranda, on a quest through the Florida Everglades to deliver a song to his beloved owner’s long-lost sweetheart. Watch the film on Netflix and contact fairley. mccaskill@atlanticrecords. com for more information. Shout! Studios’ Where We’re From: Rise of LA Underground Hip-Hop, a new documentary about the Los Angeles hip-hop culture at the turn of the 21st century, premiered in theaters, on demand and on digital on Aug. 24. Directed and produced by DJ Bonds and DJ Breeze, two founders and producers of Club Elements, the film is an exploration of the city’s underground hip-hop culture spanning the late 1990s through the early 2000s as told by the scene’s creators. The film includes archival performance footage from Club Elements as well as interviews with the likes of Jurassic 5,

Dilated Peoples, Hieroglyphics, The Beat Junkies, Planet Asia and Defari. Contact Shannon Meehan at smeehan@shoutfactory. com for details. Grammy-winning and chart-topping artist Billie Eilish made her Disney+ debut with Happier than Ever: A Love Letter to Los Angeles, a cinematic concert experience, which premiered globally on Sept. 3. Directed by Robert Rodriguez and Oscar-winner Patrick Osborne, the Disney+ original features Eilish giving an intimate performance of her latest album, Happier than Ever, in its entirety from the stage of the Hollywood Bowl. The special also includes animated elements as the viewer is taken on a tour of Eilish’s L.A. hometown, and features Finneas, the Los Angeles Children’s Chorus, the Los Angeles Philharmonic conducted by Music & Artistic Director Gustavo Dudamel, and Brazilian guitarist Romero Lubambo, with orchestra arrangements by David Campbell. Contact Alexandra Baker at alexandra@ highrisepr.com. New documentary Mr. SOUL! premiered Aug. 1 on HBO Max, which tells the story of the public television variety show Mr. SOUL! and its host Ellis Haizlip through interviews and archival clips. In the late ‘60s and early ‘70s, the show

– JESSICA PACE j.marie.pace@gmail.com brought music, politics, dance, Black literature and poetry to viewers, and was the first national variety show to spotlight the Black Arts Movement. Produced and directed by Melissa Haizlip, the film won Best First Documentary Feature at the 2020 Critics Choice Documentary Awards, and Outstanding Writing in a Documentary (Television or Motion Picture) at the 52nd NAACP Image Awards. It was also shortlisted at the 93rd Academy Awards in the category of Best Original Song, for “Show Me Your Soul” by Grammy-winning composer Robert Glasper and Grammywinning singer Lalah Hathaway. Contact David Magdael at dmagdael@ tcdm-associates.com for more details.

OPPS

The Guild of Music Supervisors & Mondo. NYC will host the 4th Annual NYC Guild of Music Supervisors Education Event & Film Festival on Oct. 14. The live virtual symposium will allow participants to meet and network with top music supervisors and executives in film, TV, video games, trailers and advertising. Panelists include supervisors, composers and sync and licensing executives. To register, visit mondo.nyc/guild-ofmusic-supervisors-1. To submit a music video to the 2022 SXSW Film Festival, the first deadline is coming up Sept. 14. Videos must be under 10 minutes in length. For submission guidelines and FAQs, visit cart.sxsw. com/products/musicvideoapp. NewScape Studios, Inc., which creates content based on video games such as Fortnite and

Minecraft and animated content, is seeking a contracted musician to join their team. The ideal candidate will be able to produce one original song per week. For details about the position and to apply, visit newscapestudios.applytojob. com/apply.

PROPS

Rick Astley’s iconic video for “Never Gonna Give You Up” has reached one billion views on YouTube, and a new mini-documentary about it is forthcoming. Astley first released the song as a debut single in 1987, which reached No. 1 in 25 countries, spent five weeks at the top of the U.K. Singles Chart and achieved Gold

status in weeks. But the video experienced a resurgence in recent years and inspired the “Rickrolling” meme, which catapulted it into the very exclusive club of pre-YouTube music videos that have reached one billion views, including Nirvana’s “Smells Like Teen Spirit” and Queen’s “Bohemian Rhapsody.” Astley celebrated this achievement with a signed, vinyl limited edition of the single and a forthcoming mini documentary with interviews with Astley and those involved with the video’s production. For your fix of ‘80s nostalgia, watch “Never Gonna Give You Up” on YouTube and contact Kerri Brusca at kbrusca@shorefire.com for more information. The World Soundtrack Awards has announced the first nominations for the 2021 event, which will take place at the Film Fest Ghent in Belgium on Oct. 23. Nominations include Nainita Desai, James Newton Howard, Emile Mosseri, Daniel Pemberton and Trent Reznor, Atticus Ross and Jon Batiste for Film Composer of the Year. TV Composer of the Year nominees include Christopher Beck, Nicholas Britell, Ludwig Göransson, Natalie Holt and Carlos Rafael Rivera. For a complete list of composers and original songs nominated for this year’s event, and to vote for your favorite film score for the Public Choice Award, visit worldsoundtrack awards.com. With 3.5 billion combined plays for all tracks on the album, the soundtrack to A Star is Born is the most popular movie soundtrack on Spotify, surpassing soundtrack streams for Black Panther, Dazed and Confused and Saturday Night

Fever. The critically acclaimed 2018 film starring Lady Gaga and Bradley Cooper earned a Grammy for Best Compilation Soundtrack for Visual Media in 2020, with hits including “Shallow,” which has been streamed 1.5 billion times on Spotify. Black Panther’s soundtrack is the second-most popular with a recorded 2.8 billion Spotify plays. For details, contact Janine Pacis at janine@rebootonline.com. JESSICA PACE is a music journalist-turned-newsreporter based in Durango, CO. She is from Nashville, where she started a writing career by freelancing for publications including American Songwriter and Music Connection. Contact her at j.marie.pace@gmail.com.

Out Take

Jimmy Hunter

Producer/Drummer/Songwriter Web: jimmyhunter.com Contact: jimmy@jimmyhunter.com Drummer, producer, songwriter and owner of Cazador Recording, Jimmy Hunter is likely best known for his session work and the early days of his career drumming with keyboardist Ray Manzarek in Nite City and with the Village People, but his most recent claim to fame is connected to a few obscure but serendipitous recording sessions with Cher 40 years ago. “I was drumming with the Village People and we got a chance to go to New York with [producer] Jacques Morali, who wanted to produce Cher,” Hunter says. “Everyone brought their songs in, and I had one I wrote for my girlfriend called ‘Rootie Toot.’ They said, ‘That’s good, let’s just dress up the chorus.’” Now the song “Rudy,” which initially appeared on Cher’s 1982 album I Paralyze, has gone double platinum on 2013’s The Very Best of Cher and is on the verge of triple platinum at the time of this writing. “I never thought that experience would lead to this,” Hunter says of his recent accolade. Since the 1980s, Hunter has now produced some 5,000 songs across the genres and worked with countless artists, which has taught him a lot of lessons in production over the years. “I’m not big on the ‘less is more’ philosophy with production; I like a lot of stuff going on, but I’m very careful to not walk on the vocal,” he says. “My biggest advice to anyone in the studio: stay off the vocal. That’s paramount. The things I try to teach to my understudies or assistants is to look for timing, pitch, interpretation, conviction and vibe. I want ‘10s’ in all those categories. If you can get that, then you’ve loved the listener.” Now, Hunter’s new goal is to land songs from his own vast catalog in films and television, which has required him to navigate more of the business side of the music industry. “I don’t enjoy the business aspect of music; I’d rather be at the creative desk 24/7,” he says. “But the best advice I’ve received from mentors is to get all your metadata in order for all your mp3s, and get your copyrights in order. If you don’t have all that together, you’ll get left by the wayside.” September 2021

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Lzzy Hale: Gibson Ambassador Gibson has announced that Lzzy Hale, frontwoman of the Grammy Award-winning hard rock band Halestorm, has joined Gibson as the first female Brand Ambassador, representing acoustic and electric guitars across Gibson, Epiphone, and Kramer. The company has released signature Gibson Lzzy Hale Explorer and the Epiphone Lzzy Hale Explorer. Hale will also help drive the culture of giving back as part of the Gibson Gives Artist Advisory Council.

Swizz Beatz Receives Icon Award Culture Creators hosted its 5th annual “Innovators & Leaders” Awards Brunch at the Beverly Hilton Hotel, celebrating leaders throughout the creative community and upholding a commitment to diversity. This year, musician, super-producer, art collector, philanthropist, and co-founder of Verzuz, Swizz Beatz accepted the Icon Award from his son and actor, Nasir Dean, aka Note Marcato. Swizz Beatz is pictured with fellow honorees and performers: Mya and H.E.R.

Kali Uchis Nueva Generación–Femenina Grammy-winning artist Kali Uchis wins her first Univision Premios Juventud award for Nueva Generación–Femenina (New Female Artist). Additionally, she performed her hit track “telepatía” alongside a full orchestra at the award ceremony. Uchis’ “telepatía,” taken from her Spanish language album, Sin Miedo (del Amor y Otros Demonios), has surpassed one billion global streams. The track also remains at No. 1 on Billboard’s Hot Latin Songs Chart, making her the first female in nearly a decade to top the chart without a featured act. “telepatía” is the longest running Spanish-language song by a solo act.

Japanese Breakfast at Electric Lady Spotify and Electric Lady Studios have launched a new series of live EPs, titled Live at Electric Lady. With the first Live at Electric Lady release having dropped on July 29 with Academy Award Winner Jon Batiste, the upcoming slate of live EPs will include: Patti Smith, Japanese Breakfast (pictured), Dominic Fike, Faye Webster, Bleachers, Remi Wolf, and Natalie Bergman, with more surprises to come. Made famous by Jimi Hendrix and classic sessions with Stevie Wonder, The Clash, The Rolling Stones, David Bowie, and many others, the legendary Electric Lady Studios has inspired the world's greatest artists for five decades running. 36 September 2021

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– JOSEPH MALTESE josephm@musicconnection.com

Tidbits From Our Tattered Past

1996–Ministry–#4

Senses Fail in Joshua Tree Senses Fail filmed live performances of their hit albums Let It Enfold You and Still Searching in their entirety in the middle of the Joshua Tree National Park at sunrise and sunset (which meant they were up at 3 a.m. to make sure they got the sun and set up just right...) Thanks to a 360-degree track camera, along with various steadicams surrounding and overhead, fans were brought into a unique livestream experience. “Joshua Tree is tied to many significant life changing events for me and the band,” says lead vocalist Buddy Nielsen.

Christina Aguilera at The Bowl Aguilera performed her first major concert of 2021 at the Hollywood Bowl, in addition to the opening of the Virgin Hotel Las Vegas and a benefit show earlier in the year. This was Aguilera's first L.A. show in two years, and prior to her performance at the Greek Theater in 2018, she had last performed at the Staples Center in 2007. Not only did Aguilera perform with her all-star band of Ethan Farmer (bass), Stanley Randolph (drums), Michael Herring (guitar) and Rob Lewis (keys), she had the Los Angeles Philharmonic conducted by Gustavo Dudamel.

Matt Stell in the Gulf Platinum-selling artist Matt Stell made his inaugural trip overseas to entertain U.S. service members. The visit included several live shows at Al Dhafra Air Base in Abu Dhabi in the Persian Gulf. “This doesn’t happen to me often, but I really can’t find the words to express what this trip has meant to me,” says Stell. “I am so thankful for the opportunity and I will never forget the experience.”

Industrial demigods Al Jourgensen and Paul Barker spoke to MC for this cover story, discussing their working relationship. “Al and I are different people,” Barker admitted. “It’s difficult at times, but we try to surprise each other because it’s too easy to get into a rut.” Elsewhere the issue offered club reviews of Big Sandy, Steve Earle, the Bomboras and Los Straitjackets as well as a profile of million-selling rapper-producer Domino.

2000–Christina Aguilera–#15 Music Connection featured Christina Aguilera on the cover of this issue, and in our feature interview the rising diva had this to say: “I want to be a pop girl with a little bit of an edge. I don’t want to be straight pop. I always want to bring other inflections to what I do.” Elsewhere in the issue we profiled popstar Eric Carmen, songwriter-producer Kevin “She’kspere” Briggs and jazz guitarist Mark Elf.

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Stevie Nicks, Jackson Browne, Carole King, Linda Ronstadt, James Taylor, Keith Richards, Crosby, Stills & Nash, Don Henley, Warren Zevon, et al. all have one thing in common—they’ve all collaborated or have co-written with members of The Immediate Family.

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uitarist/singer-songwriter/ producer Danny Kortchmar, drummer-producer Russ Kunkel, guitarist/singer-songwriter/ producer Steve Postell, bassist Leland Sklar and guitarist/singer-songwriter/producer Waddy Wachtel comprise the legendary quintet. Since the early ‘70s, they’ve been on the ground floor of more hits than anyone can imagine. But turn on classic rock and pop radio and you’re sure to hear gems like Warren Zevon’s “Werewolves of London” (co-written by Wachtel), Jackson Browne’s “Somebody’s Baby” (co-written by Kortchmar) or Don Henley’s “Dirty Laundry” (also co-written by Kortchmar). Now these industry vets have decided to step out in the spotlight under their own banner. The eponymously titled full-length release The Immediate Family (Quarto Valley Records) features a dozen original tracks of rich and well-defined rock, blues, pop and Americana-flavored fare that will surely connect with those who seek, or have missed, this collective’s unique brand of classic lyricism and quality songs.

Music Connection: You have obviously all known each other and worked together for many years. Why was now the right time to form The Immediate Family? Danny Kortchmar: It just happened to be that way. I got a record deal from a label in Japan to make a solo album. I, amazingly, realized Russ Kunkel and Lee Sklar were in town, which is rare because they’re two of the most in-demand musicians ever. So, I started with them. Waddy came in later because he was on the road. But it just all came together. And I realized it would be way more fun to be part of a band than just a solo project. And everyone, amazingly, wanted to do the same thing. Why it happened now? It was just the time for it to happen. Waddy Wachtel: Danny did the record and then got offered a tour of Japan. And he said he couldn’t do it without you guys. How about we make a band? And we all went “What a natural perfect idea.” MC: How did you go about making selections for what songs would be on your debut album? WW: You know, the cream rises to the top. There were songs we were dying to do. There were obvious choices, really. The (Warren) Zevon composition “Things to Do In Denver When You’re Dead” that I co-wrote was a surprise to me. We love doing it and it turned out to be a perfect choice for the record. The other tunes we had been working on and writing together, specifically aiming at this project. So it wasn’t without some concentrated focus that the songs wound up on the album. DK: Once we got going and had a band Waddy and I realized we had an outlet for our stuff. In other words, we realized if we write good songs they could be recorded right away by this unbelievable great band that we’re now in. That really turned me on and gave me great impetus to continue writing. And once we got some songs going we’d play them for the rest of the fellas. Everyone lit up and said, “Let’s go!” September 2021

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MC: You released two EPs in 2020, Slippin’ and Slidin’ and Can’t Stop Progress. Was that in response to the downtime during the emergence of the pandemic? DK: Yeah. We couldn’t put an album out. We had to cancel our tour that was booked. And the whole thing was put off and moved back, like what happened to everybody. MC: How have you guys fared through this downtime period? Was there more time for writing? DK: Well, we’re always writing anyways. But we also collaborated via Zoom. We each made videos individually at home. We sent them to this wonderful editor who put them all together. There was a period where we didn’t see each other for six months. WW: The video that we did for “New York Minute” was done separately and then we put the video together the same way. All the other songs that you hear were done collectively. MC: How did your deal with Quarto Valley Records come about? WW: We got told that this gentleman named Bruce Quarto was very interested in us. And the next thing we knew he offered us a record deal. And it was a substantial situation, unlike the minimal things we’ve been teased with. He meant every word he said and is completely behind us and has been supporting us all the way. He’s been behind every creative decision we’ve made so far and it’s just a fantastic relationship. Prior to hearing his name we didn’t know who he was. But all of a sudden he became a very important player in our life. DK: I remember we were playing at the Iridium club in New York. And this photographer Artie Goodman represented Quarto Valley Records and was taking pictures of us. He went back and told the label’s A&R guy Mike Carden you’ve gotta sign these guys. MC: You used to be the band that was called “The Section” back in the day. And I remember seeing you in the late ‘70s at Pine Knob (now DTE Energy Theater) opening and playing with James Taylor. I was a big jazz-rock fan and that band really made an impression on me. Can you talk about touring as The Section and how it developed into what you’re doing now? DK: The Section got together because we were on the road backing up James Taylor. On tour, James would do a 20 minute sound check and then he would leave. And the rest of us would stay on stage and jam. We had nothing else to do. The front of house guy had recorded our jam from the board. Peter Asher said we should listen to the playbacks. He said you guys sound good and should consider making this into a band. And it evolved from there. Nobody sang, we just played and it evolved into this rock fusion thing. So, we used to do 30-40 minutes as a warm up before James came out. We did the same thing with Jackson Browne. 40 September 2021

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MC: What kind of guitars and gear are you using now? WW: I don’t own any pedals except for a volume pedal. But I have a Gibson Les Paul which I’ve been saddled with since the early ‘60s. I have a lot of standard Fenders and Gibsons. My acoustics are J-200s. We have a couple acoustic guitars that were made for us in Japan that are gorgeous. The amp I use is a Magnatone ’59. DK: Waddy’s not mentioning that Gibson absolutely duplicated his Les Paul guitar. And that’s the degree to which Waddy is connected to that guitar. MC: You both, musically, do so many things. How would you describe your guitar sound working as session and sidemen? DK: I don’t think we do so many different things. Waddy and I have very distinct styles. And when we’re called to do dates, a tour or whatever it’s to be ourselves. In other words, if they call us they want us. They don’t want us to sound like someone else. My style is based on soul music, rock, blues and reggae.

“You never sit around and pat yourself on the back. Not if you’re paying attention.” –Danny Kortchmar WW: Mine is more of a dirtier sound. We both came up with the same roots in music, but I’ve got more of a dirtier rock & roll rhythm sound. But I can take that filthy sound and play some pretty melodic things, as well. But Danny’s right, we get called to show up and do what we do. I don’t show up and someone asks me to play like Kootch, [They’ll say] “I need more of a clean sound outta you.” [I’ll say] “No, you don’t. You’ve got Danny’s phone number, call him.” The reason we were able to come up through these sessions all these years is we’d bring what we bring to these records, and people would hear it, respond to it and pass us on to the next person. It simplified the process for people, where they’d hire us for what we do and didn’t have to write stuff out for us. We’d give them our version of what we were hearing. DK: On most record dates the guitar part isn’t written out. Most people don’t know how to write for guitars. As a matter of fact I don’t think anyone really knows how to write for electric guitar. We’re given chord charts, lead sheets, maybe a couple rhythm stabs and then we’re supposed to come up with something right now to help the song and the singer. And we got really good at coming up with parts for songs.

MC: Do you write much in the studio with an artist or do you do a lot of preparation beforehand? DK: Well, I’ve been working on nothing but The Immediate Family the last four years. And, frankly, I’m glad I’m not doing sessions. I never was that thrilled doing sessions. The secret to doing sessions is that 85-90% of them are terrible. The music stinks, the producer doesn’t know what he’s doing and the only reason to do it is to get paid. There is a heavy burnout factor too. The thing is, you are what you eat. So if you’re playing crappy songs all day long you start not to care. On the other hand, if you’re like Waddy and me, you get the chance to play with these genius-level singers and songwriters all the time. You learn these brilliant songs and you become, well, snobs. WW: We’ve worked with some of the best artists in the country. In those days, when you’d walk into a session, you’re not walking in prepared, you’re walking in ready to give what you have because you don’t know the songs. When Danny was producing Don Henley it was a different situation. He’s walking in with the material. We did a Jackson Browne date a million years ago called “Lawyers in Love.” We worked on a song called “Lawless Avenue.” It was a great song and we didn’t know a note of it. But I usually know what kind of sound Danny’s gonna produce and he knows what I’m gonna do. And we know what area of the neck not to be because the other guy will be there. It’s just this natural relationship we found out about each other for 50 years now. So, as Danny says, you come in cold and have to come up with the goods right there. MC: What techniques do you use to keep your writing and playing fresh? DK: Is it fresh? I don’t know (laughs). I just follow my nose and my instincts. And we just try to use everything we’ve learned and our imagination to help come up with things. But, like I told you, I’m basically rooted in soul, rock & roll and I always go back to that. I don’t know how fresh it is, but it’s fresh to me. WW: It’s always fresh when it’s real rock & roll. We’re so lucky to be at this age and this point in our lives and able to still be doing what we’re doing. I don’t sit here practicing scales, but let me tell you, after six months of not seeing my brothers I was practicing scales (laughs)! MC: So, you get re-energized? WW: You can’t generate what happens live. You can’t sit in your house and think, because you’re playing every day you’re gonna be ready to get on stage and blow. It doesn’t work that way. You’ve gotta be in rehearsals, you’ve gotta be with people and really shove it out there so you can be at your peak on stage. You can’t just rudimentarily be working on it thinking you’ve got this nailed. You don’t! MC: What’s on your agenda with an album and tour?

DK: We start a tour in November, with some dates on the east and west coast. It’s been a year and a half, so we’re pretty excited about it.

gether 50 years. It’s unbelievable! And (Steve) Postell is the new kid on the block. And we’ve known him about 15 years.

good voice. And when you’ve got Russ Kunkel and Leland Sklar as your rhythm section you’re ready to work anywhere.

MC: Have you done any private events or anything like that?

MC: What can you tell us about Steve Postell?

MC: Any final thoughts?

DK: When I was making that solo album I mentioned, before everybody got together, I worked with Steve on pre-production. He made the sessions go smooth and really quick. He can do things Waddy and I don’t do. He’s a brilliant finger-picker. He came up studying classical guitar so he’s got those kind of chops. We don’t use effects much at all, but Steve has a pedal board and comes up with a lot of textures.

DK: When we started out, more than half our repertoire were covers we wrote, played on and produced. And we still do our hits, shall I say. This album is all original material. And none of it has come out in previous forms, except for “Denver.” It’s very much an original sound, our music and our songs. And we’re very proud of that. We’re not interested in being a jam band. We’re interested in writing the best songs humanly possible and creating a big ensemble sound. We make a hell of a racket!

WW: No. At one point, when six months went by, we’d have a weekly Zoom meeting with our manager. And somebody mentioned something about “the band.” I finally stopped them and said we’re not a band right now. We’re a bunch of great dear friends, but we haven’t played together in six months. We’re not a band per se. We need to get in a rehearsal room for two weeks, which is what we did. But day one was like I forgot how physically demanding this job is! It’s a challenge. You don’t just sit down and casually go through this stuff. It’s real, and thank God for that!

WW: His role is a very defined situation because he bridges the gap between what Danny and I are doing. He also has a very

Contact lisaroyaudio@mac.com immediatefamilyband.com

MC: Well that really says something in regards to your humility and level of preparedness and professionalism. DK: Thanks! The more you listen to great music and musicians the more humble you become. You realize how great guys are. You never sit around and pat yourself on the back. Not if you’re paying attention. MC: Of course there have been many, but what are some pivotal and significant gigs and sessions you both have been involved with? WW: For me, in 1991, I was recording with Keith (Richards) and the (X-Pensive) Winos and we cut the song “How I Wish.” We also cut “Take it So Hard” that same night. And I played the solo on “Take it So Hard” live. We all went back to the room and couldn’t believe we cut two great tracks that night. But Keith wanted to re-cut the song at first because he didn’t think it felt right. But we talked about it and he realized that was the right take to go with. It was a remarkable night. DK: I would say making “Tapestry” with Carole King was a highlight. The whole album took three weeks, including mixing. And you had to be on your toes. We cut “It’s Too Late,” which was one of three tunes we cut that day. Waddy and I both played with Carole. And it was like going to college with her. She’s so darn smart; a brilliant arranger, producer and, obviously, songwriter. She knows what she wants and working with her is always a learning experience. But we’ve had so many incredible moments. We’re so lucky to have the moments we’ve had. MC: What makes each person in The Immediate Family so special on a musical and personality level? DK: Have you met Lee Sklar? I would say that Lee Sklar has a personality. He’s the only one that has one. But these guys are such great people. These guys are my brothers and we’ve known each other so damn long. I don’t know what else to say but there is so much love between all of us. WW: These guys were playing about five years before I met them. And we’ve been to-

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PITCHING YOUR MUSIC LIKE A PRO By Bobby Borg and Michael Eames

hat follows are 14 tips to help you improve your pitching game. Bobby Borg and Michael Eames, co-authors of the new book Introduction to Music Publishing for Musicians, discuss everything from making sure your music is really ready to pitch, to having an attorney available who can help. There are a lot of tips to take in, so grab that yellow highlighter pen, and let’s get to work.

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1: Make Sure Your Music is Really Ready to Pitch Before sending out your music to all those amazing places, it’s crucial that you make sure your songs are truly ready to impress—this is the first step in pitching like a pro. There’s more than one way to write a great song, as you already know, but you should at least consider the following: • Structure: Are your songs’ intros short? Do you get to the chorus quickly? And is there distinction between all of the parts of your songs? • Lyrics: Are your lyrics clear, vivid, and unique? Do they speak to your target audience? And are they broad enough so that you are not painting yourself into a corner? (Remember that specificity is good for some things, but not good for film/TV/game placements since it limits the ways a song can be used.) And finally… • Melody: Can your songs be easily hummed back after hearing them just once? While it is understandable for artists to think that everything they write is the most amazing thing on earth, just be sure to get feedback from consultants, writing teachers, and even your target audience before starting to pitch them to various music users and industry people. Overall, by making sure your songs are in tip-top shape, you will make the entire pitching process so much easier for everyone involved. You’ll be putting your best foot first.

2: Make Sure Your Recordings Are Broadcast Quality After making sure you really have great material, the second step in pitching like a pro involves making sure that your recordings are broadcast quality. Consider the following few points: • Sound: Do the instruments sound current? Did you use the best microphones when recording? And are there any unnecessary hums from electronic gear such as amps? • Performance: Do the vocals capture the true emotion of the lyric? Is the drummer in time throughout the entire song? And do all the instruments and vocals stay in tune? And finally… • Pro Quality: Do your recordings sound great when referenced against professionally recorded tracks? Could you imagine your record playing seamlessly between two songs on a major commercial radio station? Or would you be embarrassed hearing your recording on a popular playlist on Spotify? Forget about the old saying, “You can hear a hit through the shit.” These days, with all of the home recording gear that exists, crappy recordings only point to your laziness. So make every effort to get this part of the pitching process right. You’ll be glad you did.

3: Prepare Different Types of Mixes Now that you’re sure your recordings are broadcast quality, the third step in pitching like a pro deals with preparing different mixes of your song. Remember, the more mixes, the more opportunities.

Mixes might include the following: • Regular Vocal Mix: This is your typical mix that includes all of the instruments and the vocalist for release on radio, playlists, and more. • Instrumental Mix: This is where you leave the vocals out so that film and TV editors can more easily cut around dialogue in a film. • TV Mix: This is where the main vocal track is muted but the background vocals (i.e. oohs, aahs, heys, etc.) are left in for potential performances you might do on television. • Clean Mix: This is where profanities are bleeped out to adhere to TV networks’ “standards and practices” and to adhere to certain broadcast rules for radio and TV. • Vocal Down Mix: This is where the vocal track is lowered so that it does not compete with the dialogue in a film or TV show. And finally… • Recorded Stems: This is where you keep individual audio tracks (WAV or AIF files) that comprise your recording available so movie trailer editors can do their own mixes to fit their needs. As you can see, the more mixes you have, the more situations you can accommodate. And the more situations you can accommodate, the easier the pitching process will be.

4: Make Sure You’ve Cleared Any Samples/Interpolations Moving on to the fourth tip in pitching like a pro, it’s time to discuss samples and interpolations. As you already know, sampling is when you use a piece from another artist’s sound recording. Interpolating is when you rerecord a small part of a song. In either case, assuming you are not using a service like Splice or Apple Loops that have taken care of all the legalities for you, remember that both samples (the song and the master) and interpolations (the song) must be “cleared” (i.e., you must get permission from the copyright owner or his/her representatives) and pay either a negotiated fee and/or give up a percentage of ownership in your new work. While clearing samples and interpolations could be a whole chapter in and of itself, it generally can be done by reaching out directly to the publisher(s) or master owner(s) of the song you’re sampling/interpolating, or by hiring an actual “clearing house” to do this for you. Failure to get clearance will make it hard to pitch and license your song and it could even lead to copyright infringement. If you can avoid using samples or interpolations, we recommend it. The more samples and interpolations you use, the harder it is to license your music. So focus on creating your beats and tracks and be a far better pitcher. Afterthought: 7K for just 1/4 of the song: I (this is Bobby speaking) knew one independent artist who was asked to pay $7,500 to Universal Music Publishing Group for the use of just one sample from a song, and note that Universal was just a 1/4 owner in the song, which meant that he would have ended up paying $30K total. That’s far too much for a DIY artist to pay.

5: Have Your Split Sheets Together At over 1/3 of the way through our 14 tips on

pitching like a pro, also be sure to get all of your co-writer splits agreed upon (assuming that you have any co-writers). This is very important! Just remember that anyone wanting to license your music will want reassurance that there will be no disagreements in the future between the writers. As discussed previously, the form typically used to record splits between writers is called a “split sheet.” We offer a sample in Chapter One of our book, but just in case, a proper split sheet includes the following: • Date: The date on which the song was completed. • Names: Full names of all writers as they are used legally. • PRO Affiliation: All writers’ PRO affiliations and IPI numbers (the unique number that is assigned to you when you join any PRO). • Publishing Company Name: All writers’ publishing company names. • Song Percentages: The writer and publisher splits. • Master Percentages: The master owner(s) and splits. And finally… • Signatures: The signatures of each writer acknowledging the splits. While U.S. copyright law assumes that collaborators split songs (and masters) equally based on the number of creators involved, collaborators often have different ideas about how they want to split up the rights. So make no mistake, a split sheet is essential in preparing to pitch like a pro and assuring music users that you have taken care of your business.

6: List The Proper MetaData Now that you have all of your co-writers splits decided on, the sixth step in pitching like a pro involves making sure that your songs are tagged with the proper metadata (i.e., information about writers, release dates, and more). Metadata is not only helpful in ensuring that your music will be properly stored, sorted and identified everywhere that it is distributed, it will ensure that your music is identifiable when it comes time to receiving royalties too. The most basic metadata required by digital distributors of music includes: • Song title • Artist name • Label name • Songwriters • Timing of the song • Release date of the song • Genre, and… • Industry Standard Recording Code (ISRC), which is like your song’s social security number you get from your distributor or by contacting usisrc.org Other metadata required by people to whom you will be pitching your music includes: • Contact information • Subject matter of the song • Mood of the song • Instrumentation of the song • Like-artists (artists you sound like) • BPM (beats per minute), and… • Full lyrics (which is helpful for keyword searches) Don’t underestimate the importance of metadata, folks. As said by the staff at Landr (a digital September 2021

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mastering company), failure to add the proper metadata is like sending your music to the airport with no passport, no boarding pass, no money and no neck pillow. It’s not going to reach its destination without a lot of confusion and stress. And it will be harder to get you paid, as well. Getting your metadata right is a crucial step in the pitching process, so just do it! And do it right away when finishing your track. It’s hard to go back and do it later. Okay? Good!

7: Get Ready to “Show That You Know” Your Music Well Moving on to the seventh tip of our 14 tips in pitching like a pro (yes, we’re halfway home), it’s time to talk about showing that you understand the special characteristics of your music. This will help you to better respond to requests from music users and will help you to make wiser suggestions to various song pluggers about how you see your music serving them. Here are a few things you should always know: • Genre: The genre (and even sub-genre) of your song • Like Artists: The artists you sound most like • Subject Matter: Your song’s subject matter • Mood: The mood of your music (happy, sad, chill, etc.), and… • Use: Specific scenes and plot lines in which your song could be used Take it from us—the more you know, the faster your business will grow. After all, if you don’t know what your music is and how it benefits music users, don’t expect others to figure it out for you. If you want to pitch like a pro, you have to be in the know. So do your homework today.

8: Know the People You Are Pitching Tip number eight on pitching like a pro involves knowing the persons that you are pitching to. If you are fortunate enough to get the opportunity to pitch a music supervisor you admire, be sure to know what he/she is currently working on, what songs he/she has used in the past on a particular project, and how your music can serve his/her current projects. To conduct your research, use resources like IMDB, Tunefind, What-Song.com, and the “Film & Television Music Monthly,” offered by the folks at the Music Business Registry (more on them in a minute). Look gang, whether it is a music supervisor, an A&R rep, or a song plugger, the more knowledgeable you appear about the person you are pitching to, the more impressed the person will be with you, and thus the more effective you will be in the pitching process. Enough said!

9: Know the Best Way to Make Contact Dovetailing nicely from knowing the people you are pitching, our eighth tip in pitching like a pro deals with knowing the best way to make contact with these people. Two resources (“Film and TV Music Guide,” and “Music Publishers Guide”) offered by The Music Business Registry at musicregistry. com, provide the phone numbers, emails, and addresses of nearly every music licensing 44 September 2021

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professional. [Music Connection, as well, publishes an annual Directory of Music Supervisors, free on its website.] But before firing off emails to literally every industry professional on the face of the earth, find out how people prefer to be contacted (check the guides or the websites of the companies you want to contact). If no contact preference is listed, use email as the default. Email tends to be the most effective way to initially reach out to someone you haven’t already met as it allows them to respond when their schedule permits. Though phone calls can be effective, if you happen to get someone on the phone while they are busy or distracted it can be an awkward first way of communicating with someone. So for the absolute sake of clarity, we will repeat: get the preferred method of contact for industry persons you are trying to pitch and resort to email as the default mode. Okay? Good!

10: Communicate Like a True Professional Now that you’ve got the preferred method of contact for industry persons in hand, you still need to know how to communicate with him/her like a pitching pro. Welcome to tip number ten. Communicating like a true professional generally can be summed up as follows: be succinct, be clear about your intent, and be respectful of your contact’s time. To illustrate, an email might say: “Hi Mr. X, I’m John Doe from a local electronic pop group named Flex. I see that you’re supervising my favorite new TV show and that you’ve used two bands that actually sound quite similar to us. Please find a link to our latest EP where you can stream and download four songs that I feel would work perfectly for the show. I have included all the relevant metadata in the files together with my contact. It would be a great honor to work with you. Thank you.” That’s all you need gang! Notice that in these five short sentences John Doe has: • Introduced his band and his band’s genre • Indicated he has done his research and knows what the supervisor is working on • Showed that his music is a good fit with the type/style of music they already use • Indicated he knows how to prepare files with metadata and can easily be contacted • Provided a link to his music, and… • Showed respect by being both humble and grateful. Follow these tips and you will find yourself pitching like a pro. It is that simple you guys. The idea is to keep your communications as effortless and pleasant as possible. Okay? Good! Afterthought: Befriend the Gatekeeper If you end up calling someone instead of emailing them and you get an assistant to the person you are trying to reach, be concise, personable and extremely polite. Assistants can end up being huge allies for you. Not only that, today’s assistants might be tomorrow’s executives.

11: Know How to Send Your Music Keeping with our scenario between Mr. X and John Doe above, our 11th tip in pitching like a pro emphasizes the importance of knowing how to send your music to industry persons. Did you notice how John Doe (above) included a link to his music, rather than attaching an MP3? This is because MP3s take up space in a person’s email inbox and on their hard drives. Doe’s music actually linked to a great service called Disco (disco.ac) where his music can be streamed and downloaded. There are other great services you can use too including: • SourceAudio (sourceaudio.com) • Soundcloud (soundcloud.com) • Box (box.com) • Dropbox (dropbox.com) • SynchTank (synchtank.com), and… • Songspace (songspace.com) These sites all provide both streaming and downloading, and even provide analytics about who listened to your songs, how long they listened, and what tracks they downloaded. Tools like these take time to set up and refine (and they also cost money), but they can eventually make the pitching process effortless. Be sure to check out these tools today.

12: Be Prepared to Follow Up Moving on to tip number 12 of pitching like a pro, you should know about a great saying that can’t be more relevant to our discussion: “Follow up or fail.” Bottom line, just sending an email or leaving a phone message for a business industry professional and praying for a response will get you nowhere. You have to at least be able to do the seven tips below if you want to be successful: • Make your first communication utilizing the skills you learned above. • Make a second communication one week later reminding the person who you are. • Make a third communication two weeks after the second communication. • Make one final communication two weeks after the third communication. • Always remain extremely polite and show that you are respectful of their time. • Never show any signs of getting frustrated, annoyed, hopeless, or depressed. (Remember that no one owes you anything, no matter how good you are.) And… • Don’t worry if you never receive a response. You can try again in the future when you have more to offer and are more successful. Remember, pitching is an art. You have to learn how to play the game and you have to learn to play the game well. The more you do it, the better you’ll get at it.

13: Understand the Business and Know Your Place In It As we are approaching the end of our 14 tips on pitching like a pro, let us remind you about some of the more legal stuff that we’ve been talking about in earlier chapters of this book. Should you be successful enough that people are interested in discussing placement

opportunities or deals with you, you have to show that you’re competent in the following areas: • Song copyrights • Sound recording copyrights • Synch negotiations (context, timing, territory, media, duration, and price) • Recording contracts • Publishing contracts, and… • Standard music industry policies and practices It is crucial that you understand what is fair and ordinary while also understanding what your own worth is too. This comes with experience, but it also comes with checking out additional resources like Music, Money, and Success by Jeff and Todd Brabec, and it sometimes comes from entering into several deals early on where you get no upfront pay at all (particularly in music licensing situations like small films and TV placements). On the latter note, be sure to check out the boxed text below before moving on to our final tip on attorneys.

14: Have an Attorney Available Who Can Help

(reviewing a simple synch deal could cost $300 per hour). Sometimes a music business consultant who truly understands the business could be a more affordable substitute for an attorney—especially in cases when there is not a lot of money being offered for your songs and/or when the risk of loss is extremely low (like when the deal is a non-exclusive deal, there is no ownership transfer involved, or the deal is for a short term). Free services may also be available to you. For instance, The University of California Los Angeles has the Music Industry Clinic where they provide free help to rising musicians and bands. There is also the Indie Artist Resource, which provides free templates. But whomever you get to assist you, just be sure you get someone who is highly recommended. And don’t be a cheap-ass either. If you are making $2,500 on a synch deal, you can afford to hire someone. You get what you pay for. Okay! So now that you know how to pitch like a pro, you should really be ready to start sending out your music to all of those wonderful places discussed in previous chapters. Are you excited?! We hope so. On that note, happy pitching! You can now start hitting the send button. •

And finally, for our 14th and last tip on pitching like a pro, it is important that you find an experienced entertainment attorney who understands music publishing. As they say, a man who is his own attorney just may have a fool for a client. The best way to find an attorney is through referrals from people you trust. But just remember that attorneys are not cheap

What If No Fee Is Offered Upfront to Use My Song? If a licensing opportunity involves no up front fee, here are two things to explore: • Credit or Promotion: Explore the possibility of getting credit in the end titles of the project, having them put a link to your song on their website, and/or giving you permission to use portions of the film (if it’s an indie film project, for instance) in your upcoming music video. • Step Deals: Explore the possibility of getting paid in “steps” (particularly when working on a low-budget indie film). Step one might involve giving the rights to your music for free while the director is showing the film at festivals. Step two might involve getting a fee when the director is signing a distribution deal. And step three might involve getting additional payments as the director is experiencing sales at theater box offices. So as you can see, even when licensing your music for free, you still have to know the business and know your place in it too. After all, you are a pro and not just a hobbyist.

Bobby Borg, MCM is a former recording/touring artist, the founder of Bobby Borg Consulting, and the author of Music Marketing For The DIY Musician and Business Basics For Musicians. He is also an adjunct professor of Music Industry studies at USC’s Thornton School of Music. Michael Eames is a trained composer, songwriter and pianist with experience in film scoring, the President and co-Founder of PEN Music Group, Inc., and an advisor to the Independent Publisher Advisory Council (IPAC) of the National Music Publisher’s Association (NMPA).

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– ROB PUTNAM

Audio Forensics

The Sounds of Crime-ence

ften it can seem that there are more audio engineers than jobs. If that feeling ever weighs too heavy, remind yourself that there are sources of work other than making records. An intriguing and complex side channel is audio forensics (AF): the field of analyzing or cleaning audio for use in civil and criminal proceedings. Some of these cases include the compilation of proof––or, indeed, trial testimony––that a certain portion of audio has been sampled and civil damages are warranted. Then, of course, there are opportunities to enhance and otherwise prepare audio evidence for criminal trials. Nashville engineer Mark Rubel has worked in audio since 1980 when he launched his own studio––aided and abetted by legendary audio pioneer Bill Putnam––in Champaign, IL. He now works and teaches at the famed Blackbird Studios, a space he likes to call “The Abbey Road of the U.S.” In addition to his audio contributions, he also teaches a six-month engineering and record production course at The Blackbird Academy. For the past 10 years he’s also walked in the world of AF and has done a range of work for Parliament and Funkadelic. In fact, when he first started with Parliament, there were 450 lawsuits surrounding the sample of just one of the band’s songs. “A friend had been in a band and his son heard an R&B hit on the radio,” Rubel recalls of his expansion into AF. “Unmistakably, in the background was a sample of his dad’s band. My friend had me listen to it and asked if I also heard it. I did and said ‘Not only do I think it’s your song, but I can prove it.’ I was able to isolate the sample, compare it to the original and show irrefutably that it was the same, mainly by waveform comparison. I wrote a report, which he took to his attorney. They were impressed enough that they hired me to do other cases.” Rubel has since testified as an expert witness in more than a dozen federal cases, since copyright infringement issues are federal matters. “I determine whether there’s an infringement or if I can show that there’s been one,” he says of his process. “When I’m asked for my preliminary opinion, basically I do all of the work. I prove to myself either that the segment in question is a sample or if it isn’t. Typically, I do my initial report and include some

impressive-looking diagrams. In some cases, they simply use that to convince people to settle out of court, which most of the time they do. When they do go to trial, there are three expert witnesses: me (the technical expert), a musicologist and an economic witness. Also, when infringement is willful––and when isn’t it?––penalties can include $150,000, jail time and punitive damages. “Depositions and trials can take hours of being grilled mercilessly,” he continues. “The defense attorneys try to get me to contradict myself, to poke holes in my testimony or to

But copyright infringement evidence is only part of what Rubel delivers. Another segment of his work is criminal in nature. “I do a fair amount of stuff for government and law enforcement,” he explains. “Back in Champaign, the FBI office was a block from my studio. They’d bring me a recording of a guy in a jail cell made by someone sitting across the room wearing a microphone under their shirt and there was a TV playing. So the job was to get the TV down, lower the ambiance and make what they were saying intelligible. I also once was given a tape of a 911 call for which I needed to turn down the screaming and figure out, forensically, how many shotgun blasts there were and how many revolver shots.” But of course AF is a job that’s performed in the real world with real limitations. In short, some things are possible while others are not. “I had a case recently where there was a recording of people talking at a show and there was a big PA nearby,” Rubel recollects. “I was asked to bring the [noise of the] show down. There are instances where you simply can’t.” Another challenge is that, often times, samples used in video games aren’t from the official mixed recordings, but the actual individual tracks that have been leaked online. Guitar tracks, for example. As in most things, the way that AF is portrayed in film and on TV often differs radically from the way it actually operates. “It takes more work and you have to interpret things,” Rubel observes. “We hope for audio that is definitive, but sometimes things have been changed enough in the process of sampling that we can’t prove something one hundred percent. Complete technical proof is the Holy Grail. But when things become subjective, that’s more difficult although one of my arguments as a forensic expert is that when something sounds like it’s been sampled, it’s one of the better tests and it worries defense attorneys. My biggest music computer is between my ears.” Currently Rubel is writing a book on the history of American recording studios from the 1960s and ‘70s entitled The Great American Recording Studios. He aims to publish it with Rowman & Littlefield sometime in 2022, likely around Christmas.

“The defense attorneys try to get me to contradict myself, to poke holes in my testimony or to discredit me as a witness.”

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– Mark Rubel, Audio Engineer discredit me as a witness. That requires some extreme intellectual agility. But I have an amazing technique in all of this. I tell the truth. In other words, I don’t take cases where I can’t. A lot of expert witnesses will say whatever the attorneys want them to say because they’re highly paid. It’s a lucrative gig but it’s also highly stressful. You have to be able to write well and express things in your report such that a judge or jury can understand and also so that it’s difficult to contradict. Part of the job is to not say things that aren’t true, that you’ll regret or will trip you up.”

For more information, see theblackbirdacademy.com/mark-rubel

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– DEBORAH FAIRCHILD

Store Your Recording Files and Credit Notes! Musicians Say Streaming Doesn't Pay; Here's What Else They Should Consider: How much is a click worth?

ot necessarily that much, as many musicians are finding out. Although music streaming services such as Spotify, Apple Music and others are popular among music lovers, that popularity doesn’t translate into a higher balance in musicians’ bank accounts. At least, not for every musician. The most popular artists do fine––or at least better––but the lesser-known names end up with little to show for it when people listen to their music through a streaming service. The battle between royalty-seeking musicians and the streaming services has earned plenty of media attention lately, with the Union of Musicians & Allied Workers demanding higher payouts from Spotify. But in some ways this confrontation is just a more modern take on a situation that has vexed artists for about as long as recorded sound has been around. Throughout the years, people in the music industry often have had to take proactive steps to ensure they are adequately paid––or paid at all––for the hard work they put into their craft. Although musicians, songwriters and others in the business got into this line of work because they love what they do, they still need to fiercely protect what they produce and make

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sure they can collect their rightful royalties. That’s the attitude that is driving the dispute with the streaming services, but it’s also a philosophy that needs to come into play long before the finished product ever works its way into a Spotify or Apple Music playlist. So, while musicians complain about the pay from streaming services, here’s something else they should consider: Many musicians lose out completely because their credits were never properly documented to begin with. That’s why everyone who creates music should have a streamlined way to ensure that their credits are accurate and their files are safe at every stage of the creative process. They should make sure careful documentation is kept of what they write and record, and that the documentation is safely stored. Unfortunately, people are often haphazard in the way they store recording files and credit notes. Some musicians and songwriters learn too late that their hard work went unrecognized and uncredited, and without accurate credits they may not get paid for their participation in a project. One mistake people often make in the collecting and storing process is waiting until after the fact to compile the credits, which increases the risk that someone’s contribution will be left out.

The best way to manage the nightmare of file and credit management is to collect the information at the time you are creating, whether you are writing a song or making a recording. My company, VEVA Sound, recognized this when we established our VEVA Collect platform to help music creators do just that. If there is a process in place to easily collect files and credits from the beginning of a project, the chances of inaccurate credits or missing files decreases drastically. After all, it’s even tougher to earn royalties from a streaming service if you never were credited with your work to begin with. DEBORAH FAIRCHILD, president of VEVA Sound (vevasound.com), started her career with the company as an archival engineer in 2004. In the past 16 years she has risen to lead the company in all facets of the business. She has grown VEVA into a global entity servicing major labels in North America and Europe, establishing offices in New York, Los Angeles, and London in addition to the company’s headquarters in Nashville. Fairchild has kept VEVA at the forefront of technology and continues to evolve and adapt its services and technology to assist the needs of their extensive client base. She advises many label executives, producers, engineers and artists seeking archival and asset management solutions.

Davie Furey

Haunted Streets Producer: Martin Quinn

Davie Furey’s latest offering has so much to keep the ear dazzled that you are compelled to keep listening. With its masterful and pristine production, the album is chockfull of diverse and sensual elements, from gripping percussion to wistful references to his Irish roots. Thoughtful, well-crafted lyrics sung with care and conviction permeate, with messages that are reflective but never brooding. There are a couple of bonus tracks towards the end of the album, and they either serve as the forerunner to the finished versions or are a different take on them, which could have been left off as the fuller band versions are more than enough. – Ellen Woloshin

Vince Staples

Motown/Blacksmith Producer: Erik Zobler

Gost

Rites of Love and Reverence

Century Media Producer: James Lollar

Those listeners out there with a certain taste for morbidity are no doubt familiar with Gost (stylized as “GosT”), whose pioneering dark synthwave sound helped build the genre. The overall strength of this voodootinged offering rests in its compositional complexity and sonic variety. Depeche Mode is as much of an influence as Ministry. As soon as you think you have Lollar’s sound figured out, the next track turns everything on its severed head. Gost’s juddering beats and ghoulish orientation are bound to click with listeners who prefer the cold embrace of darkness. – Andy Kaufmann

Judy Wexler

Back to the Garden

Jewel City Jazz Producers: Judy Wexler, Jeff Colella

Long Beach, CA native Vince Staples’ selftitled fourth studio album appears to be the artist’s most revealing project to date, as standout songs like “Sundown Town” and “Taking Trips” show the plight of being hoodrelated when interacting with fans and/or the wider world. Vince is still a smart-ass type of rapper, with a lot to say about life around him, and as young as he is, with movement in the music scene, he shows no sign of slowing down anytime soon. – Adam Seyum

Though L.A. jazz vocal treasure Judy Wexler and her cadre of storied sidemen have a trippy, soulfully and colorfully arranged blast mining emotional gold from a tasty swirl of iconic, socially conscious songs from the 60’s and 70’s (Paul Simon, Joni Mitchell, Bob Dylan, Judy Collins, Buffalo Springfield), Back to the Garden is much more than a nostalgia trip. Drawing on her inimitable ability to inhabit classic lyrics––and her way of balancing melancholy with bold, much needed shards of hope––Wexler renders anew these oft-heard tunes as fresh, incisive social commentary on our modern socio-political landscape. – Jonathan Widran

Lisa Bouchelle & the Bleu

Billie Eilish

Jump In!

The Orchard/Sony Producers: Lisa Bouchelle, Hal B. Selzer

Happier Than Ever Interscope Records Producer: Finneas

Bouchelle has been a whirlwind of activity for over two decades. She sings a myriad of musical styles, hosts a music-oriented TV cooking show and writes her own material. “Luv is for the Making” and “Along for the Ride” are pure pop, “You Got the Rock” is Joan Jett-fueled ear candy and “EZ on me LA” is relatable and open. Collaborations with Grammy nominee G Love, The Hooters’ Rob Hyman and Broadway star Constantine Maroulis further legitimize her versatility and range. Albeit a full-length release, Jump In! is more a singles collection than a conceptual statement. – Eric Harabadian

Eilish’s sophomore album is an honest reflection of her evolution—the public scrutiny, the culmination of dreams, and the bittersweet acceptance of a new normal. Most tracks resemble a diary entry, made more vulnerable by Eilish’s whispered vocals. As a direct address to critics, “Not My Responsibility” is powerful in its sincerity, yet her vocal delivery is fragile and drained. It’s this same paradox which encapsulates the album as a whole. While the title suggests happiness, the stripped-back jazz tone evokes melancholy. Fans will appreciate her candor, but the weight of the ballads are a heavy load for pop music to carry. – Heather Cunningham

Michael Hayez

James McMurtry

All About

South Of Market Producer: Erik Zobler

The Horses and the Hounds

New West Records Producer: Ross Hogarth

In this Adult Contemporary mélange, Michael Hayez has assembled an A-list of L.A. musicians for his debut endeavor. The album kicks off with “Girls Of Hollywood,” a curious first choice, as it inaccurately sets the tone for the rest of the album. The title cut, “All About,” a Steely Dan-like arrangement, satisfies vocally and arrangement-wise. Hayez’s vocal charm lies in its lovely lilting quality and shines best when the production is more minimal and phrases are more truncated, as is evident in “A Song With You,” the final song on the album. Slightly shifting the placement of the lineup might have made for an even stronger presentation. – Ellen Woloshin

This celebrated Texas singer-songwriter releases his first full-lengther in seven years to continue a creative path of vivid and literate storytelling that he’s solidly built a career on for over three decades. With cinematic precision and melodic craftsmanship tracks like “Canola Fields” and “If It Don’t Bleed” are slices of real life and musical travelogues. There are songs that lean toward reflection (“Vaquero”) and revelation (“Blackberry Winter”). “Operation Never Mind” offers sly commentary on the media while “What’s the Matter” is a clever road warrior’s day-in-the-life. This album was well worth the wait. McMurtry is “El Fuego!” – Eric Harabadian

To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section. September 2021

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Production Lyrics Music Vocals Musicianship

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Heckyl

Lil Alice

Contact: heckylmusic@outlook.com Web: heckylmusic.com Seeking: Label Style: Electro Pop, Synth Pop

Contact: management@lilalice.com Web: lilalice.com Seeking: Label, Film/TV Style: Experimental, Ethnic, Ambient

Based in England, Heckyl is a one-man electro project from Luke Potter, whose recordings are a mix of pluses and minuses. On the upside, Potter is a thinker whose lyrics probe, challenge and question, as on “Preacher,” which also shows his production abilities to be very solid––lots of sonic substance that never gets in the way of his vocals. The upbeat, bubbly “Side Where You Slept” has colorful synth tones and a good melody. The artist gets downbeat and overcast on “Free Falling Down” where with a staccatto house/techno beat and a foreboding aggression he laments what he sees as his generation’s iffy future. We appreciate Potter’s skills and urge him to take his songs in a less formulaic direction.

Italy’s Alice Giovanna is a classically trained artist-composer who somehow manages to merge ancient and modern in a way that is both daring and accessible. Impossible to pigeonhole, her arrangements feature unexpected instruments, like the harmonica that joins with the baroque harpsichord and churning cellos on the ominous and angelic “Throughlooking Alice.” The artist’s voice is sweet and pure, able to summon her soprano when needed. Another atmospheric song, “Altrove,” is seasoned with exotic Far Eastern percussion and...saxophone! It is remarkable how well this music is recorded, capturing the textures of the instruments. We advise Alice to pursue film/TV composition opportunities.

Production Lyrics Music Vocals Musicianship

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Curtis

Harris Smith

Contact: fanofcurtis@yahoo.com Web: curusm.com Seeking: Label Style: R&B, Pop

Contact: masquers@sbcglobal.net Web: harrissmith.hearnow.com Seeking: Promotion, Label, Booking Style: Jazz

St. Louis artist Curtis says he’s looking to get with a band, and from the skills we hear on his recordings, we think he’s ready. Jazzy guitar licks and sparse drumbeat (along with synth horns) provide an oldschool platform for his R. Kelly / Boyz II Men-flavored lead vocals on “#luv,” where he’s brimming with good vibes, high on life and the love he has for his girl. Shifting to the sensual, Curtis delivers the smokey, sexy “Bourbon & Fire,” riding a good, laidback beat amid a mist of deep reverb. Perhaps his strongest outing is “Feeling You Feeling Me” and it’s clearly his bestproduced song. Curtis says he’s ready for his “boojy crew” and we wholeheartedly agree. Next step up.... even better material.

Singer Harris Smith’s choice of material could not be stronger. Each song is a bonafide classic permanently imprinted on the public’s ear. “Beyond the Sea” (Bobby Darin), “And I Love Her” (The Beatles), and “It’s Not Unusual” (Tom Jones) are golden oldies embraced for decades. Since it’s impossible to outdo the originals, Harris and his nimble band wisely do their best to deliver faithful versions, with subtle variations here and there. (For example, the Beatles tune is rendered as cocktail jazz.) And the results are pretty solid throughout. We urge this performer to go even further, to unleash his entire personality and, together with even more production polish, make these standards his own.

Production Lyrics Music Vocals Musicianship

7 x x 7 8

Steve Braun

Barney Griffin

Contact: david@powderfingerpromo.com Web: stevebraunmusic.com Seeking: Booking, Film/TV, Publishing Style: Rock, Counry-Rock

Contact: barnomatic@optonline.net Web: barneygriffin.bandcamp.com Seeking: Booking, Film/TV Style: Jazz

Steve Braun and company exhibit excellent chops on his country-flavored rockers, such as “Resolution” and “Some Things Weren’t Meant to Be,” with the harmonica leading the charge on both. Pedal steel veers its way along on the latter song, along with a big distorted guitar solo while lyrics capture the chaos of our times. Every step of the way, Braun’s lead vocals are strong and energetic on the rockers. That’s not the case with “Change My Life,” however, a sensitive song in which the singer’s voice doesn’t have the resonance to match the lyrics’ heartfelt, optimistic message for an ailing friend. We suggest the NJ-based Braun shop this tune to publishers who can place it with the ideal performer.

It’s clear from these uncomplicated recordings (simply voice, guitar, bass) that Griffin is a seasoned musician, a guitarist who spells out great chords that emit a spectrum of colors. What’s also clear is that while he is not the greatest of singers, he can be an engaging, amiable communicator. An example is “Down for the Count” his tribute to jazz clubs and the legends (Count Basie) who’ve played in them. Griffin’s love of jazz is genuine and fans of the form will warm to this tune. Excellent guitar work again fills the likable “Tell Me You’re Not A Dream”; the man knows his scales and modes. An instrumental, “The Feather,” is both spacey and pleasant sounding, a soothing easy-onthe-ears theme.

Production Lyrics Music Vocals Musicianship

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Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score. A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page. 50 September 2021

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Production Lyrics Music Vocals Musicianship

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Chisenga

Talk

Contact: chisk@diamondchainmedia.com Web: Chisenga.co Seeking: Booking, Film/TV Style: Hip-Hop

Contact: natasha@fullcov.com Web: iamtakmusic.com Seeking: Label Style: Rock, Singer-Songwriter

Zambia-born and Perth, Australia-based Chisenga is not new to the spotlight, having recently performed at the Southern African Development Community Summit. Single “Chateu Petrus” begins with a skit, set with ambient sounds of barking dogs and creaking doors, then builds with faint piano, a ghostly choir and interspersed percussion before soul-bearing spoken word. “Oxygen” is a straightforward love song, but about the artist’s love for performing, with nods to Jay-Z, Kendrick and Eminem. Standout “Energy” has great energy (obviously), with Kanye hums, low synth-bass and fast-beating African hand drums. Chisengastands to rival Burna Boy for modernizing native indigenous hip-hop.

It’s easy to hear why this one-man project, with top-notch production from Ken Lewis (Taylor Swift, Kanye West), has gotten lots of TikTok traction. And it gets more and more impressive as it unfolds. With just voice and guitar, “Run Away to Mars” is a solemn, sincere, solo piece with great harmonies and a memorable hook line: “What if I run away to Mars?” The only thing lacking is that the expected moment for a full band to kick in never arrives. Talk saved that for the song “Train,” a driving rocker with a soft touch. Great momentum, sterling production, beautiful guitar tone and an engaging chorus that’s radio-ready. Fans of Nathaniel Rateliff, Mumford & Sons and Black Keys should check him out.

Production Lyrics Music Vocals Musicianship

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Rebel Kicks

Gabe Kubanda

Contact: info@rebelkicks.com Web: rebelkicks.com Seeking: Label, Booking, Film/TV Style: Indie Rock/Pop

Contact: gkubanda@edumusication.org Web: fanlink.to/gabekubanda-homefi Seeking: Film/TV Style: Alt-Pop

A pair of brothers, Anthony & Steven Babino, comprise NYC duo Rebel Kicks, whose work has already garnered TV placements (Shameless, Hummer). And it’s little wonder––they’ve got a very polished product, songs with strong energy and lots going on. “Fall of the American Dream” is propelled by a dubstep beat and powerful vocals––the harmonies and falsettos are really strong. The band’s vocals are impressive again on the bright, syncopated “Why You Gotta?” which surprised us by delivering a sudden outro that entirely resets the song in an alluring direction. A catchy chorus and some scorching guitar make the straight-ahead rocker “Way Out” a winner. Music supes should check ‘em out.

Self-produced AZ-based artist Gabe Kubanda has a knack for brief pop-flavored love songs that are well-suited to relationship scenes in a movie or TV series. On “Gonna Be Ok” we get his message ASAP with a solid chorus and a rich-sounding arrangement that includes a female feature and cool sonic effects. As for Kubanda’s own voice––its genuine, multi-scale qualities make it the ideal instrument for his music. Reverbed piano is a nice complement to the artist’s sincere, trusting tones on “Every Day Ay,” while the summery “Twin Flames” impresses us with it effortless falsetto. Going forward, we suggest Kubanda hook up with a deft lyricist who can craft words that match the music’s sophistication.

Production Lyrics Music Vocals Musicianship

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Lucca DL

Daniel Bennett Group

Contact: luccaraps@gmail.com Web: spotify.com Seeking: Booking, Label Style: Rap

Contact: bennettalliance@gmail.com Web: danielbennettgroup.com Seeking: Review Style: Jazz, Jazz Fusion, Avant Pop

Lucca DL represents outsiders on “Life of an Immigrant.” “When I’m back in Brazil, I don’t feel Latin enough,” is an interesting theme, presented over Spanish horns and guitar. The statement “I watch soccer” and his mentions of using “WhatsApp” are less compelling, and the chorus is not much deeper than repeating the song title. Similar shallow repetition exists in “Respect” (“Show me some respect”), though the verses pour like diary entries. “NYU Cypher” is the most polished, recruiting Morghen Kennedy and Meade Morrison as guest vocalists, who both shine on the track. Lucca DL shows off his fast flow with sharp, aggressive lyrics and witty jabs at his own plight.

Sax man Daniel Bennett leads his quartet through instrumental themes that include the simple and likable “Human Playback” whose soloing never deviates from 8th notes and comes close to being elevatormusic fodder––until the outro, which is curiously dissonant. “Loose Fitting Spare Tire” is another simple, sunny theme with Bennett’s doubled sax in the forefront. The uptempo “Television” has a strong melody and the bandleader’s sax makes nice nimble moves, leaving room for the band’s guitarist to generate growling riffs. The piece emits a nice propulsion overall and the addition of a clarinet brightens the vibe. All in all, we advise Bennett and his guys to inject more “avant” into their Avant Pop music.

Production Lyrics Music Vocals Musicianship

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SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor. To be considered please go to musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee. September 2021

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The Baked Potato

Studio City, CA

Contact: derek@derekfrank.com Web: derekfrank.com Players: Derek Frank, bass; Ty Bailie, keyboard; Joshua Ray Gooch, guitar; Randy Cooke, drums; Demian Arriaga, percussion Material: Derek Frank and his crew comprise a funk/jazz band that can groove from the very first note that’s played. At this show, hints of Booker T & the MG’s and Spyro Gyra filled the Baked Potato as Frank and the boys showed ‘em what they got. The show started off with “Get Em,” as the bass led the way for skillful jamming at its best. Most of the tunes were instrumentals and mainly bass driven as Frank and Cooke gelled together, and from the onset there was no stopping the band. Great song after great song was dished out for the audience to soak up as the boys served a bevy of beautiful material that everyone thoroughly enjoyed. Musicianship: Top-notch players. Everyone was spot on, especially Frank. He is a superb bass player, with plenty of major credits, who is extremely creative and, coupled with Cooke, who is a monster on the skins (in a very good way), make for an astounding rhythm section. This left Arriaga all alone to drizzle sweet sprinkles of gooey, melodic icing on every song and he proves to be the unsung hero this evening. Gooch has superb tone on his rig and adds juicy chops on every song. If there is such a thing as too much fun, it is Bailie on the keyboard. He comes out to play and leaves everything on the stage.

DEREK FRANK

Performance: The performance was excellent. Frank had great rapport with the audience and that kept things interesting between songs. It was a great jam fest that everyone participated in, including the audience. Tunes like “Hunker Down” and “Off the Top” were super-funky and took you to a sacred groove place while “Give It What You Can” was excellently drummed and had your toes tapping the whole way through. All great songs, as the bongos and tambourine took each tune over the top.

Summary: The Baked Potato was jumpin’, jivin’ ‘n wailin’ as the Derek Frank Band held court. They came to play and they put on a wonderful show. The performance was a perfect balance of tunes from Frank’s most recent album, and older material plus a cover song or two. If you’re into funk and jazz (and even if you’re not), and you enjoy well-written music with funky grooves, you can’t go wrong with these guys. Their latest studio effort came out in September 2020 and is titled Eleven Years Later. It is available at all online stores now. – Pierce Brochetti other as Olson plays the lion’s share of leads, adding just the right amount of spice to each tune. Gross utilizes a judicious amount of thumb and finger action to smoothly lay down boogie beats and accompanying single note lines. Olson's wah-wah pedal added a certain contemporary sheen to some of the more traditional blues offerings. Gross has a robust and slightly monotonic vocal style that suits the material perfectly. His harmonica accompaniment is appropriately gritty .

KENNY OLSEN & TINO GROSS Edo Ramen House

Detroit, MI

Contact: tinogrossdetroit@gmail.com Web: kennyolson.com; facebook.com/ dumpstermachine Players: Kenny Olson, guitar; Tino Gross, vocals, harmonica, guitar Material: Blues, rock and Americana crafted with Detroit pride is what this stellar duo brings to the 52 September 2021

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table, fully stocked with classic hits and vintage rarities. John Lee Hooker’s “Motor City’s Burning” and “Boogie Chillin’” prove to be star vehicles. The musical lexicon of Bob Dylan, Lou Reed, Iggy & The Stooges, Blind Lemon Jefferson and Detroit blues legend Bobo Jenkins all co-exist harmoniously in the artistic ouevre and streetwise vision of Olson and Gross, as well. Musicianship: This duo complements each

Performance: Olson and Gross have both shared the stage with ZZ Top in the past. Their cover of “She Loves My Automobile” was an especially heartfelt tribute to recently departed bassist Dusty Hill. Gross is a clever, engaging storyteller and a musical raconteur. His anecdotes of backing John Lee Hooker in the ‘70s, sitting in with Bob Dylan and general knowledge of Detroit blues history were entertaining and honest. Toward the latter part of the night the duo was joined by former Hank Ballard and The Midnighters/Jackie Wilson guitarist Billy Davis and his 13-year-old wunderkind/protégé harmonica player “Mighty” Michael Mendelson. They all jammed on rare blues gems that truly locked in the crowd. Summary: Kenny Olson and Tino Gross are seasoned vets who have worked in all facets of the music biz. It is refreshing to see these two Detroit natives rise from the ashes of the pandemic and return to their first love—playing for a live audience. – Eric Harabadian

of serving up nightly livestreams via Twitch. A lone wolf, he appears in these mysterious broadcasts entirely without accompaniment. His sound isn’t one that demands technical prowess. Instead, he creates galaxies of moods through carefully placed plucks and thumps, splashing notes into the ether and allowing their colors to reverberate through space and time. Certainly, his ability to play multiple instruments displays a level of musical competency that demands respect. Unfortunately, every droning, minimalistic piece bears an off-putting similarity to the next.

ELG PUBLISHING

Livestream

Oakland, CA

Contact: info@elgpublishing.is Web: elgpublishing.is Players: Ed Grey, bass, guitar, keyboard Material: Ed Grey is an avant-garde, ambient musician living and playing in California. Under the name ELG Publishing, the tones he creates are equal parts soothing, wondrous

Livestream

and disturbing. A minimalist noisemaker whose artistic vision runs considerably beyond the mainstream, his abstract soundscapes should appeal to aficionados of dark artists such as Pete Namlook, Tetsu Inoue, and Death Cube K. Curious listeners should check out the many pay-as-you-want downloads available on his sparsely constructed website. Musicianship: Grey has made a practice

Performance: Like a transmission from another dimension, Grey silently appears, communicates through sound, and then disappears just as inexplicably. The blackand-white presentation, and the presence of a mannequin with a hand where its head should be, increases the surrealistic vibe. He offers no explanations for his lyric-free compositions, which feel like missives from beyond the grave, or a forgotten soundtrack to Un Chien Andalou. Summary: For those who believe that our world is in desperate need of a break from normality, ELG Publishing is a welcome addition. Grey’s sonorous drones dip into our psyches and unleash new perspectives on what could and should be. Regretfully, the barren, unstructured nature of his sound sculptures makes them difficult to digest. True artists create art regardless of its marketability, yet there’s nothing wrong with making money via one’s creativity. Grey should work on packaging his interstellar virtuosity so that it reaches citizens of this planet as effectively as it must those on others. – Andy Kaufmann

New York, NY

Contact: jfinkelman@yahoo.com Web: moonglowduo.com Players: Jonathan Finkelman, guitar; Ellen Weiss, vocals, percussion Material: Moonglow are billed as a jazz duo, but it’s a designation more about style than repertoire. The material crosses over several genres and various eras. Kicking off the set with Laura Nyro’s “Rhythm And Blues,” they move on to “Fever,” and then surprise us with a version of “To Sir With Love.” Some other gems include, “Bridge Over Troubled Water,” “Proud Mary,” “Woodstock,” (one of Weiss’ best moments), to Carole King’s “I Feel The Earth Move.” Weiss even throws in one of her originals, “Find Your Way To The World.” What’s notable is the duo doesn’t attempt to mimic the artist who first gave us the song, or the period from which it came, but puts their own stamp on each one. Musicianship: Weiss’ vocals are consistent; her pitch is spot-on, and her vocal timbre works nicely with the chosen material. She doesn’t over-sing and offers thoughtful interpretations of each selection. Finkelman’s tasteful guitar work dovetails nicely with Weiss’ vocals, never upstaging or crowding them. Overall, it adds up to a natural synergy. Performance: Though solid on all the material, Wiess’ affinity for Laura Nyro’s rhythm and blues, and “Woodstock,” is apparent. It is also where she shines the most. It’s evident this

MOONGLOW

duo is well-rehearsed and well-prepared, but they might consider more interaction with the viewer. Letting us in on why they chose certain songs, or simply providing some peripheral commentary about life in general, will go a long way toward telling us more about who they are as people, and as artists.

Summary: Moonglow offers a refreshing opportunity to hear a mashup of great songs. Musically, this duo have their act together and are very much in sync with each other, and they can now shift their focus to the more “theatrical” aspects of the show. – Ellen Woloshin September 2021

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Harvard & Stone

Los Angeles

Contact: gdavidson@icon-publicity.com Web: beckblack.com Players: Beck Black, vocals, bass, keyboards; Mo Matatquin, guitar; Adam Alt, drums Material: North Carolina native Beck Black moved to Los Angeles years ago, in search of the Hollywood glamor that she had become so enamored with from afar. She found it, and so much more. Her music is oftentimes a reflection of that journey—east to west—her southern drawl blending beautifully with an attitude that is all City of Angels. The songs at this show in L.A. are fantastic; Beck Black (which, incidentally, is the name of the band as well as the frontwoman) switches between neargothic post-punk and hard rock, with dashes of power-pop and ‘90s alt. There are covers of Joy Division (“Transmission”) and Stooges (“I Wanna Be Your Dog”) songs, betraying a couple of Black’s influences, but you’ll also hear some Siouxsie in there. A dash of Jane’s Addiction maybe? It’s impossible to separate it all, but it works. Musicianship: The Beck Black band is comprised of three quite brilliant musicians. Guitarist Mo Matatquin is able to simultaneously frame everything, while also adding flourishes. He’s playing lead and rhythm, and excelling at both. Drummer Adam Alt is equally impressive, which is no small feat when considering the fact that drums on

BECK BLACK

Beck’s recent “Who’s Gonna Save Rock & Roll” single were provided by none other than Ringo bloody Starr! But hey, who needs a Beatle. Alt is superb. Black is a gifted keys player, though the band sounds more dense when she picks up her bass. That switch in instruments plays a part in aiding the schizophrenic, unpredictable nature of the show. No bad thing. Performance: Black is a mesmerizing singer, throwing in glorious whoops and shrieks between a deadpan croon. She’s both passionate and punk-cynical. She grins then sneers, a la Lydia Lunch. It’s a wonderful thing to witness. She sways behind her keys, then

gyrates with her bass. She throws herself to the floor like Iggy Pop, then bends a leg and poses like Madonna. All eyes are on her, and she doesn’t disappoint. Summary: Beck Black performs new single “Hollywood Blvd” towards the end of her set, which is fitting because the venue (one of the most underrated in L.A., by the way) is located on that very street. Her album, due in September, has the same name. Be sure to get hip to this superb artist and band, because her cross-country journey has resulted in some genre-defying, infectious and entertaining music. – Brett Callwood

players, especially Pete Schluter, whose sonic wails are particularly engaging. One might guess that Hendrix, Van Halen, and Satriani are his primary artistic muses. (In fact, one tune even dropped into Jimi’s “Third Stone From the Sun.”) The reverb techniques and additional otherworldly effects he effortlessly creates exemplify the ethos of a renowned axe virtuoso. Regretfully, the band’s vocals need serious work; most of the time, their lyrics are impossible to decipher.

DEATH PESOS Middle East Cambridge, MA

Contact: deathpesos@gmail.com Web: deathpesos.com Players: Larry Frisoli, bass, lead vocals; Pete Schluter, guitar, vocals; Tony DePasquale, drums Material: As heavy metal has evolved, the genre has gotten progressively darker and sludgier. It seems the style’s rock and roll roots 54 September 2021

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have been lost forever. Declaring themselves a power trio, Death Pesos aim to shift this trend by replacing grim seriousness with fun and groove. Chugging rhythms are laced with guitar eruptions that deliver perpetual goose bumps. Death Pesos wouldn’t feel out of place alongside many hard-driving classic rockers, such as Canned Heat. Musicianship: Death Pesos display exceptional instrumentation. All three are first-rate

Performance: In contrast to their musical explosion, Death Pesos offer little by way of showmanship. Though they launched their set by stating their name, they never identified the group’s individual players. One song was dedicated to “…anybody who’s on psychedelics.” Justifying this statement, Schluter ran an object of undetermined origin along the neck of his guitar, to trippy effect. Free earplugs were made available to the audience in cups at the base of the stage. While this is an undeniably kind gesture, it’s also extremely un-metal. Regardless, the image of John C. Reilly on the drum kit was a classy touch. Summary: Despite their musical prowess, Death Pesos lack one vital ingredient––a great singer. Adding a lead vocalist with notable stage presence would significantly elevate their artistry. Even with this matter resolved, it’s unclear if their material has the potential to shake up the scene. Perhaps a more powerful singer would illuminate their songwriting. Meanwhile, they seem content with rumbling beats and invigorating guitar runs. In today’s competitive atmosphere, that’s probably not enough to achieve notoriety. – Andy Kaufmann

less stellar, and they play a “did I hear that right” cover of Pink Floyd’s “Echoes.” Stunning. Musicianship: This is where they excel. Much like the rest of the bands on this prog-heavy bill, the California Guitar Trio know exactly how to get the best out of their instruments. Effects pedals are employed, particularly by Richards, but they know what they’re doing. The crunch and distortion is used with precision. They allow the audience to sit back and just soak it all in.

CALIFORNIA GUITAR TRIO Greek Theatre

Los Angeles, CA

Contact: cgtrio.com/contact Web: cgtrio.com Players: Bert Lams, Hideyo Moriya and Paul Richards (all guitar) Material: The story of the California Guitar Trio is a fascinating one. First of all, none of the three musicians are from California; Lams is from Belgium, Moriya is Japanese, and Richards is from Utah. That in itself makes for a fascinating combo. The three met in 1987 at a guitar-craft course where King Crimson’s

Robert Fripp taught them New Standard Tuning (NST). The trio continued to work together in L.A. (hence the name), and the California Guitar Trio was founded in 1991. It makes sense then, that they would open for King Crimson on this tour (the Zappa Band is also on the bill), creating a sort of family reunion. The CGT has gone from strength to strength since the lessons with Fripp and the early shows. Last year’s Elegy is their 19th album by our count (live and studio), and they performed “Alva” (from the “Guadella Trilogy”) from that album in L.A. Other tunes, such as “Andromeda” and “Yamanashi Blues,” are no

Performance: Not a lot to report here. These guys aren’t going to leap up like Eddie Van Halen or strut like Angus Young. But still, there’s something very hypnotic about the way they stand in a line nodding at each other, essentially conducting each other in the absence of a drummer. At one point, they “hit” notes to each other as if they’re playing tennis with music and the guitars are the rackets. That’s as showy as they get, but it’s a fun moment. Summary: Ultimately, this crowd is here for King Crimson and the Zappa Band. But the rapturous reception that greets the CGT speaks volumes. Their reputation has spread, and these guys are now well known to KC fans. They let nobody down with a set that is intricate, exciting, unpredictable and a thrill. It’s wonderful when a group of talented unassuming musicians can allow their music to do the talking for them, and they’re appreciated for it. – Brett Callwood

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Annual Directory of

Annual Directory of Recording Studios Film/TV Music Supervisors & Post-Production Now expanded for 2021 is our exclusive list of Film/TV Music Supervisors and Post-Production companies. All information below is verified by the listees. To receive thousands of free industry contacts, visit musicconnection.com/industry-contacts. 1 SOUNDTRACK CENTRAL 5062 Lankershim Blvd. #174 N.Hollywood CA 91601 818-505-0669 Email: info@SoundtrackCentral.net Web: SoundtrackCentral.net Contact: Jay Warsinske & Madeleine Smith How to Submit: Mail CD to address or email Soundcloud links 5 ALARM 3500 W. Olive Ave,, Ste. 810 Burbank, CA 91505 626-304-1698, 800-322-7879 Email: info@5alarmmusic.com Web: 5alarmmusic.com 35 SOUND P.O. Box 217 Pacific Palisades, CA 90272 310-454-1280 Fax 310-454-3443 Email: gmarq@35sound.com Web: 35sound.com Music Supervisors: G. Marq Roswell, Carter LIttle Credits: Man With the Iron Fists, Half the Sky, Birth Story, The Bronx is Burning How to Submit: no unsolicited material AIR-EDEL USA 1416 N. La Brea Ave. Hollywood, CA 90028 323-802-1670 Web: airedel.com Credits: see web How to Submit: does not accept unsolicited composer submissions Additional location: Air-Edel Associates Ltd. 18 Rodmarton St., London W1U 8BJ +44 (0)207 486 6466 AUDIO MOTION MUSIC 444 Brickell Ave. Miami, FL 33131 404-736-3622 Email: info@audiomotionmusic.com Web: audiomotionmusic.com Additional locations: Atlanta, Boston, New York, Louisiana, London AVATAR DIGI 2029 Hyperion Ave. Los Angeles, CA 90027 323-906-1500 Email: info@avatardigi.com Web: avatardigi.com/digi/Home.html Credits: MTV, CBS, Paramount, Sony, Warner, Apple iTunes, Microsoft, Amazon, Rhapsody How to Submit: accepts CDs only, (no MP3s) or WAV files BATES MEYER INC. P.O. Box 2821 Big Bear Lake, CA 92315 909-547-0504 Fax 909-547-0901 Email: nancy@batesmeyer.com Web: batesmeyer.com Contact: Rick Bates and Nancy Meyer

BIG SOUNDS INTERNATIONAL P.O. Box 48258 Los Angeles, CA 90048 323-954-0274 Email: MC@bigsoundsintl.com Web: bigsoundsintl.com/contact.htm Music Supervisor: Jonathan Hafter How to Submit: no unsolicited material accepted

BLINDLIGHT 8335 Sunset Blvd. West Hollywood, CA 90069 323-337-9090 Email: info@blindlight.com Web: blindlightmedia.com Comments: complete music supervision and productions services exclusively for video games. How to Submit: no unsolicited material BROOKE WENTZ THE RIGHTS WORKSHOP 353 Kearny Street, Floor 4 San Francisco, CA 94108 415-561-3333 Email: info@rightsworkshop.com Web: 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. How to Submit: submissions@ rightsworkshop.com CHICAGO MUSIC LIBRARY Malibu, Los Angeles and Encino, CA 18034 Ventura Blvd., Ste. 450 Encino, CA 91316 818-906-3988 Email: submissions@ chicagomusiclibrary.com Web: chicagomusic.org/chicagomusic-library Credits: Warner Bros., Paramount, Deluxe Laborites, Technicolor etc. How to Submit: see online “FAQ” CHOP SHOP MUSIC SUPERVISION So. Pasadena, CA Email: contact@chopshoprecords. com Web: chopshopmusic.com Contact: Alexandra Patsavas Credits: Wonder, Dynasty, A Futile & Stupid Gesture, Runaways, Riverdale, Shades of Blue How to Submit: no unsolicited material CINECALL SOUNDTRACKS 55 E. Front St. Keyport, NJ 07755 732-450-8882 Web: cinecall.com Contact: George McMorrow How to Submit: no unsolicited material

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Additional location: 8240 Beverly Blvd., Ste. 15 Los Angeles, CA 90048 323-419-3898 Contact: Gabe Hilfer Email: gabe@clearsongs.com CODA MUSIC SERVICES 17345 Marlin Pl. Lake Balboa, CA 91406 818-317-9332 Email: margaret@codamusicservices. com Web: codamusicservices.com Music Supervisors: Margaret Guerra Rogers, Kelly Bennett Credits: Real Women Have Curves, Price of Glory, Tortilla Heaven, For Love or Country, etc. How to Submit: no unsolicited material CREATIVE CONTROL 5239 Sepulveda Blvd., #2 Culver City, CA 90230 Email: info@creativecontrolent.com Web: creativecontrolent.com Contact: Joel C. High How to Submit: Email before sending material DANCING MICE PRODUCTIONS 1234 Delaware Ave. Buffalo, NY 14209 716-885-3030 Fax 716-885-4040 Email: scott@dancingmice.net Web: 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 U.S. Headquarters. Do not call or email. We will contact you if interested. DAUMAN MUSIC Email: Jason@daiumanmusic.com Web: daumanmusic.com How to Submit: unsolicited material accepted DAVID FRANCO, PRODUCER International Productions Film/TV/Music 3894 Royal Woods Drive Sherman Oaks, CA, 91403-USA Cell: 310-721-3977

CLEARSONGS 601 W 26th Street New York, NY 10001 212-627-8767 Email: jim@clearsongs.com Web: clearsongs.com/contact.html Contact: Jim Black Credits: HBO, Artisan, Lion’s Gate,

C O M P I L E D

October Films, USA Films, Oxygen Music Works, Miramax, Columbia, Searchlight How to Submit: no unsolicited material

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DE ROCHE MUSIC 1004 Commercial Ave. #586 Anacortes, WA 98221 818-216-9670 Email: deRochemx@aol.com Web: derochemusic.com Contact: Ross De Roche Credits: Deadpool 2 (2018), the Magnificent Seven (2016), SWAT, Castle, Failure to Launch

D E N I S E

C O S O

How to Submit: no unsolicited material DESERT C.A.M. STUDIOS 78677 Rainswept Way Palm Desert, CA 92211-3035 - 760972-4559 WB/Burbank office 818-795-4235 Email: Daniel@DesertCAM.com – or – Chip@DesertCAM.com Web: DesertCAMStudios.com Contacts: Chip Miller (Director/ Producer/Writer/Music Producer) – or – Daniel Pomeroy (VP Music Supervisor/Film & TV Licensing) How to Submit: For unsolicited materials, CD and/or DVD physical formats only. For industry submission products, e-cards, music transfer links or CD and/or DVD formats DONDI BASTONE Web: facebook.com/dondi.bastone, dondibastone.com Credits: Election, The Crew, The Descendants, more How to Submit: unsolicited material accepted EMOTO MUSIC 814 S. Spring St., 7th Fl. Los Angeles, CA 90014 310-399-6900 Email: paul@emotomusic.com Web: emotomusic.com Comments: work with various filmmakers How to Submit: no unsolicited material FEEDBACK! MUSIC SUPERVISION 818-275-4367 Email: bruce@brucerabinowitz.com Web: brucerabinowitz.com Contact: Bruce Rabinowitz How to Submit: via Email FIRSTCOM MUSIC 14860 Montfort Drive, Suite 260 Dallas, TX 75254 800-858-8880, 972-389-2820 Contact: Ida Yarbrough-Griffin, Sr. Music License Exec. Email: idaY@firstcom.com Web: firstcom.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 How to Submit: no unsolicited material Additional location: 2110 Colorado Ave., Ste. 110 Santa Monica, CA 90404 310-865-4477 1755 Broadway, #6 New York, NT 10019 FUSION MUSIC SUPERVISION Email: submissions@ fusionmusicsupervision.com Web: fusionmusicsupervision.com Contact: Christopher T. Mollere

Download at musicconnection.com/industry-contacts GOODNIGHT KISS MUSIC 10153 1/2 Riverside Dr., Ste. 239 Toluca Lake, CA 91602 808-331-0707 Email: janet@goodnightkiss.com Web: goodnightkiss.com Contact: Janet Fisher Credits: HBO, Showtime, NBC How to Submit: please see web IHD MUSIC NOW 678-849-7444 Email: music@hdmusicnow.com Web: hdmusicnow.com Contact: A&R How to Submit: email streaming links only IDM MUSIC 111 East 14th Street, #140 New York, NY 10003 212-695-3911 Email: miriam.westercappel@ idmmusic.com Web: idmmusic.com Comments: Music licensing and music clearance, music representation; master and publishing, music supervision, catalogue and copyright admin. Credits: ABC, BBDO, CBS, Disney, Fox, HBO, MTV, Showtime, Grey Worldwide, NBC - check site for full list. How to Submit: send us an email IMC ENTERTAINMENT GROUP 19360 Rinaldi St., Ste. 217 Porter Ranch, CA 91326 818-700-9655 Email: sr@imcentertainment.com Web: SylvesterRivers.com Contact: Sylvester Rivers Music Supervisors: Sylvester Rivers, Paul Riser INAUDIBLE Los Angeles, CA 818-385-3400 Fax 818-385-3456 Email: info@inaudibleprod.com Web: inaudibleprod.com Music Supervisors: Peter Afterman, Margaret Yen How to Submit: No unsolicited material JONATHAN LAZAR Urband & Lazar Los Angeles and London 323-230-6592 Email: help@urbandlazar.com Web: Urbandlazar.com How to Submit: No unsolicited material MACHINE HEAD 310-392-8393 Email: patty@machinehead.com Web: machinehead.com Contact: Patty Chow Dewey Credits: New Line Films, Lions Gate Films, Ogilvy & Mather, TBWA Chiat Day, THQ, The Matrix Video Game How to Submit: No unsolicited material MARTUNE MUSIC P.O. Box 416 Pasadena, CA 91102 626-441-0400 Email: martune@sbcglobal.net Web: martunemusic.com MICHAEL WELSH PRODUCTIONS 2215 Lambert Dr. Pasadena, CA 91107 626-796-0961 Email: info@michaelwelshprods.com Web: michaelwelshprods.com/about.php Contact: Michael Welsh Comments: Music searches and clearances.

Credits: Macy’s, Gap, American Eagle Outfitters, DKNY, FedEx, Old Navy, Mitsubishi, Ford, Banana Republic, Yahoo, Nokia, Chivas Regal, Payless Shoes How to Submit: No unsolicited material

Music Supervisors: Scott Dudley, Corey English, Kirk Dudley Credits: BRITAwards, FOXSports, ESPN, NBA/TNT, Redbull, MTV, VH1, WSOF/NBC, FOX, SBNation How to Submit: submissions@push. audio

MIKE FLICKER MUSIC SERVICES Burbank, CA Web: mikeflicker.com Contact: Mike Flicker Music Supervisors: Mike Flicker, CEO Credits: Viacom, 20th Century Fox, Showtime, Granada Entertainment, WB, ABC How to Submit: no unsolicited material

REEL ENTERTAINMENT 11684 Ventura Blvd., Ste. 134 Studio City, CA 91604 310-428-5924 Email: info@reelent.com Web: reelent.com Contact: Mark Wolfson Credits: The Playtone Company, Mi Vida Loca, Philadelphia, Stop Making Sense, Silence of the Lambs, Colors How to Submit: Email submission request

MODERNPLANET MUSIC 19110 Sprague St. Tarzana, CA 91356 818-343-2212 FAX 818-343-1115 Contact: Michelle Silverman Email: modernplanet@sbcglobal.net Comments: Music searches and clearances Credits: Aquaman, Mayans MC, Cobra Kai, Sons of Anarchy, Prison Break, Good Boys, Jackie Brown, The Harder They Fall and Just Beyond MORRIS & YOUNG 310-699-7026 Email: music@morris-young.com Web: morris-young.com Contact: Wenty Morris Credits: The Tonight Show with Jay Leno, Project Runway, CBS Sports Spectacular MUSIC ORANGE 1 Icehouse Alley San Francisco, CA 94111 415-398-6264 Email: michael@musicorange.com Web: musicorange.com MUSIC WITHOUT BORDERS (MWB) 159 Fishing Trail Stamford, CT 06903 203-428-6720 Email: info@musicconsultant.net Web: musicwithoutborders.com Contact: Steve Lurie, Founder and President NAXOS OF AMERICA 113 Seaboard Lane, Suite B-100 Franklin, TN 37067 615-771-9393 Email: naxos@naxosusa.com Web: naxos.com How to Submit: no unsolicited material

NEOPHONIC, INC. Los Angeles, CA 310-550-0124 Email: soundtracks@neophonic.com Web: neophonic.com Contact: Evyen Klean, music supervisor; PJ Bloom, music supervisor How to Submit: We do not accept unsolicited music submissions. PEACE BISQUIT Brooklyn, NY 718-789-1689 Email: staff@peacebisquit.com Web: peacebisquit.com How to Submit: no unsolicited material PUSH.audio 1327 Grandin Rd SW Roanoke, VA 24015 Email: submissions@push.audio Web: push.audio

Web: song&film.com Contact: Glory Reinstein Comments: One-Stop song licensing for independent artist; S&F has placed songs in TV shows including NetFlix, film, and sport networks and events. How to Submit: Submission are only accepted in April, August and December. Send your three strongest stongs SONGFINDER Atlanta, GA 404-437-7978 Email: info@songfinderlicensing.com Web: songfinderlicensing.com Contact: Melissa Love, Sr. Director SOUNDTRACK MUSIC ASSOCIATES 1601 North Sepulveda Blvd. #579 Manhattan Beach, CA 90266 310-260-1023 Email: info@soundtrk.com Web: soundtrk.com Contact: John Tempereau, Roxanne Lippel, Koyo Sonae Music Supervisors: George Acogny, Anastasia Brown, Kathy Dayak, Jason Eldredge, Matt Kierscht, Frankie Pine, Michelle Silverman, Koyo Sonae How to Submit: no unsolicited material

REEL SOUND, INC. 818-618-REEL (7335) Email: reelsoundinc@aol.com Web: reelsoundinc.com Contact: Michael Becker How to Submit: Email before submitting RIGHTS WORKSHOP, THE 353 Kearny Street, Floor4 San Francisco, CA 94108 415-561-3333 Email: submissions@rightsworkshop. com Web: rightsworkshop.com Contact: Maryam Soleiman, Brooke Wentz Credits: La Mission, Everyday Sunshine: The Story of Fishbone, The Devil & Daniel Johnston, American Hardcore How to Submit: Direct any content to the email address

STEELMAN STUDIOS 818-465-3357 Email: steelmanstudios@live.com Web: steelmanstudios.net Contact: Devon Steelman Credits: TV Networks, Film Studios, Ad Agencies How to Submit: no unsolicited material Basic rate: call for info

RIPTIDE MUSIC GROUP 9469 Jefferson Blvd., Ste. 114 Culver City, CA 90232 310-437-4380 Email: contact@riptidemusic.com Web: riptidemusic.com How to Submit: no music submission SL FELDMAN & ASSOCIATES 200-1505 W. 2nd Ave. Vancouver, BC V6H 3Y4 778-945-3167 Email: info@feldman-agency.com Web: feldman-agency.com Styles: all Credits: Defining Gravity, Imaginarium of Doctor Parnassus, Frankie & Alice. From country to folk, hip hop to rock, pop to opera and everything in between, TFA represents acts that will meet your entertainment needs. How to Submit: no unsolicited material accepted Additional location: 8 Elm St. Toronto, ON M5G 1G7 416-598-0067 SMC ARTISTS 1525 Aviation Blvd., Ste. 1000 Redondo Beach, CA 90278 818-505-9600 Web: smcartists.com Contact: Otto Vavrin II How to Contact: call before submitting material SONG & FILM, LLC 4079 Governor Dr. Ste. 185 San Diego, CA 92122 802-279-3233 Email: songfilm.submissions@gmail. com

SWEET & DOGGETT Boston, MA 617-872-0455 Email: info@sweetdoggett.com Web: http://sweetdoggett.com/td.html Contact: Jay Sweet or Scott Doggett Credits: AOL, Merrill Lynch, Kodak, Fisher-Price, Dunkin’ Donuts How to Submit: no unsolicited material TLS MUSIC SERVICES 818-848-2330 Fax 818-848-4006 Email: tracy@tlsms.com Web: tlsms.com Music Supervisor: Tracy LynchSanchez Credits: Napoleon Dynamite, 20th Century Fox, Universal Studios Home Entertainment, MGM How to Submit: No unsolicited material TRF PRODUCTION MUSIC LIBRARIES 106 Apple St., Ste. 302 Tinton Falls, NJ 07724 201-335-0005, 800-899-MUSIC Email: info@trfmusic.com Web: trfmusic.com Contact: Anne Marie Russo Credits: TV Networks, Film Studios, Ad Agencies How to Submit: submit acoustic and instrumental material only TRUE TALENT MANAGEMENT 9663 Santa Monica Blvd., #320 Dept. WEB Beverly Hills, CA 90210 310-560-1290 Email: webinfo@truetalentmgmt.com Web: truetalentmgmt.com How to Submit: accepts unsolicited material

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Annual Directory of Film/TV Supervisors & Post-Production UMG NASHVILLE 222 2nd Ave., S. Ste 2200 Nashville, TN 37201 615-524-7500 Web: umgnashville.com Styles: Country, rock, singersongwriter Clients: Shania Twain, Toby Keith, Willie Nelson, Ryan Adams, George Strait, Reba McEntire, more Credits: Lost Highway, Mercury, MCA, Dreamworks How to Submit: no unsolicited material VERSUSMEDIA Web: versusmedia.com Styles: All genres Credits: Over 900 independent films worldwide How to Submit: online registration necessary to receive listings VISUAL MUSIC SERVICE 9507 N. Santa Monica Blvd., # 213 Beverly Hills, CA 90210 818-343-7073, 818-693-1790 Email: albinafle@gmail.com Web: visualmusicservice.com Contact: Rick Fleishman How to Submit: no unsolicited material WARD HAKE VP Music, 20th Century Fox TV 10201 W. Pico Blvd., Bldg. 88, Ste. 30 Los Angeles, CA 90064 310-369-1000 Credits: 24, Prison Break, The Simpsons, Family Guy, My Name Is Earl, How I Met Your Mother, The Unit, The Shield, Shark and Bones How to Submit: no unsolicited material WARNER/CHAPPELL PRODUCTION MUSIC 777 Santa Fe Ave. Los Angeles, CA 90021 888-615-8729 Email: info@warnerchappellpm.com Web: warnerchappellpm.com How to Submit: We do not accept composer demos and library discs for consideration. We only accept emails with a link to your music. NO music files attached to the email Additional locations: 1030 16th Avenue, South Nashville, TN 37212 1633 Broadway, 9th Fl. New York, NY 10019

WJOY MUSIC SEARCH & LICENSING 2675 W. Grand Ave., Ste. 505 Chicago, IL 60612 773-276-9340 Web: 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.

POST-PRODUCTION CALIFORNIA ABSOLUTE RENTALS 2633 N. San Fernando Burbank, CA 91504 818-842-2828, 310-560-2373, Email: dave@absoluterentals.com Web: absoluteliveproductions.com Basic Rate: call for info BELL SOUND STUDIOS 916 N. Citrus Ave. Hollywood, CA 90038 323-461-3036 Email: info@bellsound.com Web: bellsound.com Basic Rate: call for info BRIAN BANKS MUSIC 310-691-2347, U.K. +44-20-70961652 Email: sarah@brianbanksmusic.com Web: brianbanksmusic.com Basic Rate: call for info CAPITOL STUDIOS 1750 N. Vine St. Los Angeles, CA 90028 323-871-5001 Email: booking@capitolstudios.com Web: capitolstudios.com Basic Rate: call for info CHARLES LAURENCE PRODUCTIONS Northridge, CA 818-368-4962 Email: clpmanagement@aol.com Web: clpstudios.com Contact: Charles Laurence Basic Rate: call for info EPSCINEWORKS 3330 Cahuenga Blvd. W., Ste. 200 Los Angeles, CA 90068 818-766-5000 Fax 818-623-7457 Email: info@cineworks.com Web: epscineworks.com Basic Rate: call for info

WISE MUSIC 1247 6th St. Santa Monica, CA 90401 310-393-9900 Email: info@musicsales.com Web: musicsales.com How to Submit: no unsolicited material

Additional locations:

12054 Miramar Pkwy. Miramar, FL 33025 305-754-7501

2 Old Rte 17 Chester, NY 10918 845-469-4699 Music Sales Group Hire Library Unit F3 Dettingen Way Bury St Edmunds,Suffolk, Ip333TU UK Email: music@musicsales.co.uk Denmark, Spain, France, Germany, Australia, Japan, Southeast Asia, China

58 September 2021

12121 Wilshire Blvd. Los Angeles, CA 90025 818-766-5000 935 Gravier St., Ste. 1054 New Orleans, LA 70112

1431 Woodmont Lane, N.W. Atlanta, GA 30318 404-567-5160 12054 Miramar Parkway Miramar, FL 33025 305-754-7501 CLOUD 19 3975 Landmark St. #1200 Culver City, CA 90232 310-839-5400 Email: info@cloud19.com

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Web: cloud19.com Basic Rate: call for info CONWAY RECORDING STUDIOS 5100 Melrose Ave. Los Angeles, CA 90038 323-463-2175 Fax 323-463-2479 Email: stacey@conwayrecording.com Web: conwayrecording.com Basic Rate: call for info DAY 6 ENTERTAINMENT GROUP, INC. 716 Oak Circle Drive East, #20 Mobile, AL 36609 (251) 662-3257 Email: info@day6entertainment.com Web: facebook.com/Day6Ent Film/TV/Audio Post-Production: Nathaniel Nuon, Terry Parsons, Sodric Dira, Charles Phanthapannha, Chris Meztista Credits: Residue, Hayride2, Night Claws, Songs of Liberty, Convergence, Tokarev DEEPMIX 1510 Oxley St., Ste. H South Pasadena, CA 91030 323-769-3500 Email: brad@deepmix.com Web: deepmix.com Basic Rate: call for info EASTWEST RECORDING STUDIOS 6000 W. Sunset Blvd. Hollywood, CA 90028 323-957-6969 Email: candace@eastweststudio.com Web: eastweststudio.com Basic Rate: call for info ES AUDIO SERVICES 1746 Victory Blvd. Glendale/Burbank, CA 91201 818-505-1007 Email: studio@esaudio.com Web: esaudio.com Contact: Donny Baker Basic Rate: Call for more info ENDLESS NOISE 1825 Stanford St. Santa Monica, CA 90404 310-694-8251 Email: kevin@endlessnoise.com Web: endlessnoise.com Basic Rate: call for info FRIDAY ENTERTAINMENT Sherman Oaks, CA 818-995-4642 Email: info@fridayentertainment.com Web: fridayentertainment.com Contact: Sam Dress Basic Rate: very competitive GRIND MUSIC & SOUND 818-565-5565 Email: info@grindinc.com Web: grindinc.com Basic Rate: call for info PRIMALSCREAM MUSIC 3005 S. Lamar Blvd. Austin, TX 78704 323-366-0012 Email: info@primalscream.audio Web: primalscream.audio Basic Rate: call for info RIPTIDE MUSIC, INC. 9469 Jefferson Blvd., Ste. 114 Los Angeles, CA 90232 310-437-4380 Email: contact@riptidemusic.com Web: riptidemusic.com Basic Rate: call for info

SENSORY OVERLOAD MUSIC 818-437-4117 Email: info@sensory-overload.com Web: sensory-overload.com Basic Rate: call for info SOTTOVOCE STUDIOS North Hollywood, CA 818-694-3052 Email: info@sottovocestudio.com Web: sottovocestudio.com Basic Rate: call for info SOUNDBATH MUSIC & SOUND 310-990-0202 Web: soundbath.com Basic Rate: call for info SPIRIT MUSIC COLLECTIVE, THE 12711 Ventura Blvd., Ste. 110 Studio City, CA 91604 818-508-3303 Email: scott@themusiccollective.com Web: themusiccollective.com Basic Rate: call for info Additional locations: 8455 Beverly Blvd. Suite 309 Los Angeles, CA 90048 310-652-1413 235 West 23rd Street 5th Floor New York, NY 10011 212-533-7672 106 Acklen Ave. Nashville, TN 37212 615-321-2700 46A Great Marlborough St. 3rd Floor London, W1F7JW +44 0207 043 2316 Mozartlaan 25 (h) 1217 CM Hilversum +035 544 7097 STEELMAN STUDIOS 818-465-3357 Email: devonsteelman@hotmail.com Web: steelmanstudios.net Contact: Devon Steelman Credits: TV Networks, Film Studios, Ad Agencies How to Submit: no unsolicited material Basic rate: call for info STOKES AUDIO RECORDING & POST 19626 Ventura Blvd., Ste. 201 Tarzana, CA 91356 818-855-9759 Email: booking@stokesaudio.com Web: stokesaudio.com Basic Rate: call for info STUDIO CITY SOUND 4412 Whitsett Ave. Studio City, CA 91604 818-505-9368 Email: booking@studiocitysound.com Web: studiocitysound.com Basic Rate: call for info SUMMERFIELD MUSIC, INC. 818-905-0400 Web: summerfieldmusic.com Basic Rate: call for info THRESHOLD SOUND + VISION 2114 Pico Blvd. Santa Monica, CA 90405 310-566-6677 Fax 310-314-3826 Email: micheleb@thresholdsound. com

Download at musicconnection.com/industry-contacts Web: thresholdsound.com Contact: Michele Blankenship Basic Rate: call for info THUNDER SOUND 3123 S. La Cienega Blvd. Los Angeles, CA 90016 310-829-4765 Fax 310-202-7475 Email: artwright@thunder-sound.com Web: thunder-sound.com Contact: Art Wright Basic Rate: call for info TOMCAT ON THE PROWL PRODUCTIONS Studio City, CA 818-533-8669 Email: studio@tomcatontheprowl.com Contact: Thomas Hornig Web: tomcatontheprowl.com V GROUP, THE 359 21st St. Santa Monica, CA 90402 310-395-0252 Email: v@thevgroup.net Web: thevgroup.net Basic Rate: call for info

12121 Wilshire Blvd. Los Angeles, CA 90025 818-766-5000 935 Gravier St., Ste. 1054 New Orleans, LA 70112 1431 Woodmont Lane, N.W. Atlanta, GA 30318 404-567-5160 COMTEL TELEVISION PRODUCTION FACILITIES 3401 S. Congress Ave. Boynton Beach, FL 3426 516-816-5152 Web: comtelinc.com Basic Rate: call for info

ILLINOIS ATOMIC IMAGING INC. 1501 N. Magnolia Ave. Chicago, IL 60622 312-649-1800 Fax 312-642-7441 Email: candice@golan.tv Web: atomicimaging.com Contact: Candace Gerber Basic Rate: call for info

VILLAGE, THE 1616 Butler Ave. Los Angeles, CA 90025 310-478-8227 Web: villagestudios.com Basic Rate: call for info

Additional locations:

WARNER BROS. STUDIO FACILITIES POST PRODUCTION SERVICES 4000 Warner Blvd., Bldg. 4 Burbank, CA 91522 818-954-2577 Web: wbppcs.com Basic Rate: call for info

Los Angeles 312-649-1800 Ext. 5780 Email: Tim@atomicimaging.com Contact: Tim Clark

WARRIOR RECORDS 7095 Hollywood Blvd., Ste. 826 Hollywood, CA 90028 Email: info@warriorrecords.com Web: warriorrecords.com Contact: Jim Ervin Basic Rate: email for information

New York 312-649-1800 Ext. 5770 Email: erik@atomicimaging.com Contact: Erik Iversen

San Juan, Puerto Rico 312-649-1800 Ext. 5790 Email: luis@atomicimaging.com Contact: Luis Ruiz SONIXPHERE P.O. Box 10176 Chicago, IL 60610 312-329-1310 Email: ken.kolasny@sonixphere.com Web: sonixphere.com

WESTLAKE RECORDING STUDIOS & TECHNICAL SERVICES 7265 Santa Monica Blvd. Los Angeles, CA 90046 323-851-9800 Email: bookings@thelakestudios.com Web: thelakestudios.com Contact: Sara Clark Basic Rate: call or Email for info

WHITEHOUSE POST PRODUCTION, THE 54 W. Hubbard St., Ste. 501 Chicago, IL 60610 312-822-0888 Email: kristin@whitehousepost.com Web: whitehousepost.com Contact: Kristin Branstetter Basic Rate: call for info

Additional location:

Additional locations:

8447 Beverly Blvd. Los Angeles, CA 90048

530 Wilshire Blvd., Ste. 400 Santa Monica, CA 90401 310-319-9908 Email: joni@whitehousepost.com Contact: Joni Wiliamson

WOJAHN BROS. MUSIC 1524 Cloverfield Blvd. Santa Monica, CA 90404 310-829-6200 Email: info@wojahn.com Web: wojahn.com Basic Rate: call for info

FLORIDA CINEWORKS DIGITAL STUDIOS 12054 Miramar Pkwy. Miami, FL 33025 305-754-7501 Email: info@picturesolutions.com Web: epscineworks.com Basic Rate: call for info Additional locations: 3330 Cahuenga Blvd. W., Ste. 200 Los Angeles, CA 90068 818-766-5000

180 Varick St., Ste. 1400 New York, NY 10014 212-568-8200 Email: cgrady@whitehousepost.com Contact: Caitlin Grady, Exec. Producer The Heal’s Building No. 1 Alfred Mews- 5th Fl. London, W1T 7AA 44-0-207-432-4300 Email: allen@whitehousepost.com Contact: Chris Allen

MASSACHUSETTS D2 PRODUCTIONS 238 Stevens Street Marlborough, MA 01752 508-485-0300

PURPLE COW POST 516-443-1058 Web: purplecowpost.com/main.html Contact: Brain Kushner Basic Rate: call for info

Email: info@d2productions.com Web: d2productions.com Basic Rate: call for info SOUNDMIRROR 76 Green St. Boston, MA 02130 Web: soundmirror.com Email: info@soundmirror.com 617-522-1412 Fax 617-524-8377

TOWN & COUNTRY CREATIVE 917-287-6575 Email: rosanne@ townandcountrycreative.com Web: townandcountrycreative.com Contact: Rosanna Herrick Basic Rate: call for info

NEVADA DIGITAL INSIGHT RECORDING STUDIOS 2810 S. Maryland Pkwy., Ste. C Las Vegas, NV 89109 702-792-3302 Email: digitalinsightrecording@gmail.com Web: digitalinsightrecording.com Basic Rate: call for info

YESSIAN 137 5th Ave., 3rd Fl. New York, NY 10010 212-533-3443 Email: info-ny@yessian.com Web: yessian.com/services/musicsupervision Basic Rate: call for info

LEVY PRODUCTION GROUP 5905 S. Decatur Blvd., #1 Las Vegas, NV 89118 702-342-0832 Email: mike@levyproductiongroup. com Web: levyproductiongroup.com Basic Rate: call for info

Additional locations: 33117 Hamilton Ct. Farmington Hills, MI 48334 248-553-4044 Email: info-detroit@yessian.com 1275 Electric Ave. Venice, CA 90291 310-844-1184 Email: info-la@yessian.com

NEW JERSEY WORLDS AWAY PRODUCTIONS, LTD. West Orange, NJ 646-543-8005 Email: info@worldsaway.tv Web: worldsaway.tv Basic Rate: call for info

Schulterblatt 58 20357 Hamburg, Deutschland +49-40-40185159 Email: info-germany@yessian.com

PENNSYLVANIA

NEW YORK

FERRALLI STUDIOS 2450 Dutch Rd Fairview, PA 16415 814-528-5439 Email: info@ferralli-studios.com Web: ferralli-studios.com Basic Rate: call for info

CINERIC 630 9th Ave., Ste. 508 New York, NY 10036 212-586-4822 Email: enyari@cineric.com Web: cineric.com Contact: Eric Nyari Basic Rate: call for info

TENNESSEE

DIGITAL ARTS 130 W. 29th St., 8th Fl. New York, NY 10001 212-460-9600 Web: digital-arts.net Contact: Axel Ericson Basic Rate: call for info

CONTINENTAL FILM PRODUCTIONS 1466 Riverside Dr., Ste. E Chattanooga, TN 37406 423-622-1193 Fax 423-629-0853 Web: continentalfilm.com Basic Rate: call for info

TEXAS

DUART FILM & VIDEO 245 W. 55th St. New York, NY 10019 212-757-4580 Email: info@duart.com Web: duart.com Basic Rate: call for info

STUCK ON ON 516 Navasota St. Austin, TX 78702 512-535-4760 Email: info@stuckonon.com Web: stuckonon.com Basic Rate: call for info

MAGNETIC POST PRODUCTION Marshall Road, Suite 221 Wappingers Falls, NY 12590 212-598-3000 Email: harry@magneticimage.com Web: magneticimage.com Basic Rate: call for info MERGE CREATIVE MEDIA 2 W. 46th St., Penthouse New York, NY 10036 646-818-0335 Email: info@mergecreativemedia.com Web: mergecreativemedia.com Basic Rate: call for info

FOR HUNDREDS MORE CONTACTS FROM CURRENT DIRECTORIES (A&R, GUITAR/ BASS INSTRUCTORS, EVERYTHING INDIE, PROMOTION, PUBLICITY, VOCAL COACHES, COLLEGE RADIO, RECORDING STUDIOS, REHEARSAL STUDIOS, MASTERING STUDIOS, PUBLISHERS, MANAGERS AGENTS AND MORE), VISIT OUR WEBSITE: MUSICCONNECTION.COM/ INDUSTRY-CONTACTS.

MOVING PICTURES 145 6th Ave., 7th Fl. New York, NY 10013 212-924-7364 Email: info@mpny.tv Web: mpny.tv Basic Rate: call for info September 2021

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60 September 2021

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For Advertising Info Call 818-995-0101

MARKETPLACE

September 2021

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For Advertising Info Call 818-995-0101

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– SAM BATES

Be Smarter With Smart Links

A Guide To The 360-Degree View Marketing Strategy

e are currently in an age of independent music renaissance. Readily available tools and technology are handing power back to the artists making music, not only boosting their creative control but positioning them as the ones in charge of their own journey within the industry. These tools have given way to a new generation of musical entrepreneurs all over the world. For instance, 80,000 independent artists spanning the entire globe currently use the Amplify.link tool, covering all genres from hip-hop to heavy metal. For these artists, there is a neverending list of touchpoints between them and their audience. While this range of platforms and channels all provide new ways to release content or engage with fans, they can quickly become a tangled network. In the digital world that we live in, we each access these channels via links. Directing each visitor to their intended destination, when deployed properly, links allow audiences to discover content relevant to them in just a few clicks. Having a home for all these various links is where a smart linking strategy comes into play. So what is a smart link? It is a landing page that includes several links within it. While a normal link routes users to one destination, smart links direct users to several web pages. It massively helps to tidy up bios and descriptions across your various platforms while then showing your full breadth of content when fans reach your page.

boosting listens on release day, as well as improving discoverability in the run up. Furthermore, the campaign itself, if eye-catching enough, could get noticed by the editors of these DSPs, meaning your song could be included in the well-listened “New Releases” playlists and reach a whole new set of ears.

However, smart links are so much more than just a collection of other links. They encourage fans to stream your music, buy merch, purchase concert tickets, pre-order your records, and much more. Below are a few tips to really make the most of these cutting-edge tools.

on these platforms so much easier, simply pointing fans to the one link in your bio. We’ve all seen “Check the link in my bio” before and that’s because it works. • SoundCloud track descriptions: Due to its artist friendly services, SoundCloud has remained one of the go-to platforms for emerging creators. Track descriptions with smart links can help convert casual listeners to loyal fans. • Email newsletters: While smart links help new audiences discover you, including them in newsletters helps keep loyal listeners easily up to date with all of your content. • Press releases: Anyone who has tried to reach out to reviewers or music industry higher-ups will know how difficult it can be. Including smart links in press releases can help give them quick and easy access to your material. • EPK: Electronic press kits are the resume of the modern artist, so it only makes sense to include smart links to all your previous and ongoing projects.

The Digital Business Card The best link pages are customizable. This means rather than having a bland landing page that takes your fans out of the branded immersive experience, they reach a page unique to you as an artist. Custom artwork, titles, descriptions, social media links, metadata and descriptions, review links, and anything else you can link to makes your page act as your digital business card. Showing off your creative flair to create an eye-catching page will help you stand out from the crowd. Short and Custom Links Digital audiences have become more cautious and savy overtime with their online activity. Two factors that set off their spider senses and make them less likely to trust a link are long links with generic domains. Having a short smart link with a custom domain will improve click-through rates, simply by improving the level of trust with a potential fan. They can also greatly improve shareability, as a shorter link will more easily fit, for example, in a Tweet. Pre-save Campaigns Running a pre-save campaign allows fans to save tracks to their Spotify, Apple, Pandora and Deezer libraries ahead of a launch, which are then automatically added on release day. Pre-save campaigns have a proven track record of significantly 62 September 2021

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Audience Insights Being an artist today is a fine balance between having your unique creative voice and catering your output towards your audience. To help better understand your audience, smart links often come inbuilt with campaign and audience analysis services that integrate with DSPs, social channels. Keeping track of link clicks in real-time, as well as which platforms fans tend to gravitate towards, not only provides you with insights into your fans’ listening habits, it informs you how best to run your campaigns. This includes when best to release a song if your fans are in a particular region or what content to focus on for each platform. Where to Put Smart Links The opportunities for smart link placements are endless, but below are five places that will guarantee results: • Social media bios and posts: Having a single link in your Instagram, Facebook, TikTok and Twitter bios and YouTube about page is an absolute priority. It makes these areas much tidier and makes promoting

By following the above tips and tricks, you will be able to create a living landing page, a central hub for all of your content. Doing so shows you care about your audience’s experience while also greatly improving your chances of getting in front of who you want to impress. SAM BATES has been a passionate music fan for well over 20 years, having been involved in the industry for 16 years as a DJ, promoter, and writer. In 2015 his passion for entrepreneurship led him to found an independent digital creative agency and then Amplify.link in 2018 with the goal of using technology to democratise the marketing of creativity.

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ARTIST EDITION INCLUDED

64 September 2021

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September 2021

Articles inside

Career Connection: Audio Forensics. . . . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam

Exec Profile: Rosabelle Eales, Overall Mgmt. . . . . . . . . . . . . . . . . . By Andy Kaufmann

Songwriter Profile: TRISHES. . . . . . . . . . . . . . . . . . . . . . . . . . By Andrea Beenham

Tip Jar: Be Smarter With Smart Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Sam Bates

Producer Crosstalk: Adrian Gurvitz . . . . . . . . . . . . . . . . . . . . . . . . . By Rob Putnam