This episode features hot new songs from a variety of independent artists, such as Donna Lewis, Adam Delisi, Stolen Cars, Natalie Walker, Uh Huh Her, Vic Kingsley, Tori Lewis, Mutlu, The Stone Coyotes, The Crash Moderns, Jay Anderson, Raine Maida, Bill Purdy, Jimmy Lloyd, John Fkiaras and Lin McEwan. It also features an interview and in-studio performance of the Brooklyn rock quartet, Running Still. Read more of this article »
Radio in America has been given a free ride for over 80 years. Songwriters get paid when their songs are played on the radio, but the Performing Artists, Musicians and Producers ARE NOT COMPENSATED from Radio in any way.
While the industry has lobbied for this MANY times over the 80 years, Radio has never been willing to negotiate, and used their tremendous lobbying power to prevent this from happening. I had my doubts about it actually happening this time as well, but then the Obama Administration actually came out in support of this yesterday. If you don’t know how rare it is for politicians to take interest in artistic areas, read Mark Twain’s autobiography to see how “the more things change, the more things just stay the same.”
But we need everyone’s support. Please sign the MUSICfirst coalition’s petition here: http://www.musicfirstcoalition.org/node/708 and then read on for other reasons this is important!Sure the big Multi-Platinum Artists and Producers aren’t hurting for money, but they are NOT the only ones who benefit. As a songwriter I get some small royalty checks every year from a few sources that add up to a couple thousand some years. Not a fortune, but it goes a LONG WAY to helping me make my bottom line.
Here are some beneficiaries if the bill gets passed.
Musicians: Right now musicians (and background singers) get a fee for recording in the studio. Once. More and more the unions have lost control, so that’s it. I have a friend who made almost $20,000 in Radio Performance Royalties for playing keys on a hit that went top 5 in several European countries. His original fee? Less than $1000. (European radio will not pay American artists, because the US is the ONLY country that doesn’t pay performance rights to artists…. I guess they missed that my friend is American…)
Songwriters: Many US artists are reluctant to record songs they didn’t write, or ask for “writing credit” on a song they are performing simply because it is the only way they will be paid. If artists can make money for radio play, I fully believe more artists will be interested in recording a hit… wherever it comes from. My evidence? The overseas market! Many more artists over there are willing to record songs they didn’t write.
Producers: Not every producer is getting paid $100,000 for a song. Under recording copyright, Artists and Producers split ownership of the Sound Recording Copyright. More and more smaller productions are breaking through due to the internet, and many producers have done their work for VERY little money. At least if something takes off, they can breathe, knowing they *might* make some money without a lawsuit!
Breaking Radio’s Anti-Bill Propaganda
Here’s what Radio wants you to think, and why it’s rubbish.
1. Radio says they are a promotional vehicle providing free exposure to sell albums.
Bulls%$t: Radio Stations are business that make money off advertising. Less than 20% of US Radio stations play predominantly NEW music in need of promotion. Most rely on established classics (recent or old) to attract their large audiences that advertisers are willing to pay $$$ for. Elvis, Patsy Cline, Bette Midler, Whitney Houston, Lena Horne, Rick Astley etc… are not relying on “radio promotion” for their old songs. And maybe THEY don’t NEED any more money from Radio play (All those artists are known for singing OTHER people’s songs, thus are not being paid…) But think of all the great One-Hit wonders they still play on radio. I guarantee you many if not most of those artists would welcome a little bit more money each year (Not to mention the studio musicians, etc…) Maybe the average person doesn’t see it, but anyone in the business knows that Radio HATES playing new stuff… We laugh at this argument.
2. This will force more radio to switch to *Talk Formats*
What a crock. They would now if they could compete. Talk Radio is actually the number one format! But do you think they get all those shows for free? Of course not! They pay all those syndicated programs a LOT of money to air them.
3. Radio Can’t Afford this Now.
I can’t walk into an instrument shop and say,”I NEED this piece of gear to make a living. I can’t pay for it now, but I believe I’m entitled to take it for free, because I NEED it.” This is essentially the same thing radio has said for EIGHTY YEARS. Do you want someone stealing your stuff… telling you they have a right to take it and not pay you because they can’t afford it? Radio’s been robbing us for years. Every other civilized country recognizes that the artists and musicians should be paid when someone profits from their work. The US is the only exception. Add in that recent reports for Terrestrial Radio are very positive, AND the fact that this will be phased in over three years… it is WAY past time to pass this. And there are many exemptions for small independents and non-commercial radio.
4. The Labels are Desperate and Greedy.
The US Radio AD industry is about 15 Billion Dollars. That is about twice what the recording industry is. Who’s being desperate and greedy?
I’ve been getting emails, and lots of search hits for the BMI No More Revivals CD, so I thought I’d give a quick update.
The CD was finished on Dec. 1st. With the holidays right around the bend, it has taken BMI a little while to get the artwork and liner notes together. They really want to make sure that the CD is a great package, with a great booklet to enhance the experience… it just has been taking them a little longer than expected to get it completed. I am under the impression they will be done with this soon. From that point it will be about 5-6 weeks before it is commercially released.
I assure you it is worth the wait! I am incredibly proud of how it sounds. The writers have fantastic material, the musicians are great, and with performers such as David Hyde Pierce, Kelli O’Hara, Karen Olivo, Alice Ripley, Gergory Jbara, Will Swensen, Stephanie Block, Nancy Opel and many other wonderfully talented performers, I am sure it will be a CD musical Theatre lovers will treasure.
I will update here as more information comes available!
I will be finishing up a second isolation room for the studio by the middle to end of April. This will make it much easier for me to work with 3-5 piece bands who would like to record all at once.
I am inaugurating this with a special recording deal for bands only!
Record a 4 Song EP for the flat rate of $1400!
This offer includes:
Band tracking, Lead Vocal Recording/Editing and Mixing for 4 songs
Four hours of client attendance for tightening mix.
So don’t get into a recording situation where the engineer isn’t fully up front about how long it will take, pay hourly, and find yourself out of money before the project is completed! With my package rates I guarantee I will keep you on track to finish your recording in time, coach the best vocal performances your singer has ever given, and deliver a mix you’ll be proud of!
This offer is for a limited time and could disappear at any time. In addition, the first two bands to book a time and pay their deposit will get a 15% discount on this price!
Other items that can be worked into a package price include:
Many bands face this question when recording… Record an album that accurately reflects the band’s live show, or do a bunch of stuff that can’t be replicated on stage?
One plus in your column as a solo artist… you don’t really need to worry about this one. Why? Because if you announce your performances as “solo performances”, no one is going to expect the performance to sound like the recording! In fact, they are probably looking for that intimate, stripped down feeling.
So as a solo artist, your only concern should be if you can play the songs live so that the song still comes across as something special. Making sure your songs are great goes a long way towards this!
For the studio, you should be thinking about other things. Namely, what are your goals with the recording? Maybe a simple, acoustic album is the right thing for you. Maybe you want to keep that overall vibe, but go for adding more dimension with more instruments and arrangement depth. Maybe you are looking for something more slick and polished…
My suggestion is, where budget allows, make a recording for the artist you *want to be*! It is a crowded musical field out there, Do everything you can to illustrate why you are special and deserving as an artist. Maybe that is truly best brought out in a simple recording, or maybe additional instruments and a unique arrangement will really bring what you have to offer to the table for your current and new fans!
When I do my initial consultation with an artist, this is one of the big questions I discuss. What do you want to sound like, and what are your goals?
But don’t worry what that live performance looks and sounds like. Your fans know you are a solo act, and they’ll enjoy whatever show you give them, whether an acoustic performance in a small venue, or a full-to-the-wall performance with all the bells and whistles! In fact, whatever you do, bring something to the performance that ISN’T on the record, do it well, and watch your fans start buzzing! Lady Gaga has no problem reinventing her songs at each performance, so why should you?
Perhaps the biggest challenge solo artists face when recording is the expense and time of finding musicians. Here, bands have it easy. They can rehearse together, work out all their parts and arrangements. Then they can lay down everything faster… saving money… and they have multiple people to split the costs as well.
Solo performers need to find everyone, pay the musicians, and have less (if any) of an idea as to what the final product will sound like.
What’s the advantage? You can sound like anything you want without being limited to the skills of your bandmates. That band that has it so “easy”… maybe their drummer really doesn’t keep solid time, the guitarist has a certain “style” to playing everything, the bass player really doesn’t hit the notes solid, they keyboardist is stuck in a certain “era” for his sounds and playing… everyone feels like they must be used at all times and when it comes to mixing, everyone feels they must be *louder*
Congratulations! You don’t have to deal with all this! Your palate for how you sound is open wide, and if you choose everyone correctly, on average, you should come out with a better, more polished recording than the average band.
Ahh… but how do you choose. This is where a great producer comes in. If you find the right producer, you’re only looking for one person… not 3-6 (or more!). Producers who specialize in solo artists should have access to a wide range of musicians able to handle any style, and musicians who excel in one style, and know who is going to be right to bring in for the project. They should have a working history so they can realistically know how long it will take to work out the parts and lay them down, so you can get an accurate picture of the budget.
If you play an instrument yourself… say keys or guitar… it can save a lot of time and $$$ in the studio, as you may be laying down the most definitive musical track… but if you are a singer who doesn’t play (or doesn’t play well), don’t despair… while costs could be a little more, you have one less musician who’s “weaknesses” you have to worry about, and you can have the best players front to back giving you your own sound.
As a solo artist, one of the top questions you should be asking a producer is: Do you know the right musicians to handle my project? Don’t let them get away with a simple “sure”… prod them for details… How fast do they work? What do they charge? How adaptable are they? The answers aren’t as important as the producer’s reply. If he stumbles, watch out… if he is ready to talk clearly about this major need of yours, you may have found the guy who makes your recording vision a reality!
And if your producer really is the right guy, you save money on the musicians. They will quote better rates, and possibly even work on a flat fee per song when they already know how the producer works and enjoy working with him!
I am very proud to have produced James Barbour’s (Jane Eyre, A Tale of Two Cities, Assassins) new single. The song is called “Walk With Me” and was written by Gary Burton. Proceeds will go to benefit Haiti disaster relief.
We did this up in my studio a couple of weeks ago. I also provided piano, bass and drum programming. I also want to give a shout to all the other people who contributed to this recording!
Why do you need to hire people to work on your recording? I couldn’t have said it any better than this thoughtful article from Music Think Tank… a GREAT site for information on Music… promoting, building a career, etc…
Why are people always complaining that music isn’t as good as it used to be. I think this decade featured some very fine music. I’ve seen a lot of lists that are so indie it hurts, and a lot of albums hailed not so much because they are *enjoyable* and more because, well, they AREN’T.
My top albums of the decade are diverse, and there a couple lesser known titles, but many of those were a bit bigger across the pond. Some trends I like? A couple oldsters put out their best work in years, some new people broke innovative ground, and others bucked the system… and it made for some compelling music.
I’m actually quite anal about rating and ranking my albums. I have four categories that I rate 1-10, resulting in a possible 40 point total. The categories are: (S)ONGS – How good is the songwriting? (P)RODUCTION – How much detail, how much punch… did the producer/engineer succeed to the fullest? (M)USICIANSHIP – How is the vocal quality, instrumental players, arrangement, etc… (C)OHESIVENESS – The most subjective, does the album flow well, do the songs combine to form a whole that is greater than the sum of it’s parts?
If you like popular music, and you are unfamiliar with any of the albums I talk about, I urge you to run out right now and get it, because you’ll be in for a treat! So without any further ado, let me begin the countdown.
Near Misses: Green Day – 21st Century Breakdown, Morcheeba – Fragments of Freedom, Robbie Williams – Swing While You’re Winning, Daniel Bedingfield – Gotta Get Through This.
20. Dixie Chicks – Taking the Long Way (2006) S:8 P:9 M:8 C:8 - 33
Freed from trying to please country radio, the Dixie Chicks made the album they were born to make. By throwing convention aside, the became the modern versions of Johnny Cash. Country rebels. Because of course they were still going to make a country record, but now they could do it their way. So much detail in the music. So many layers to the sound. Punk looks good on you.
19. Robbie Williams – Escapeology (2002) S:8 P:7 M:10 C:8 – 33
Has any pop artist in the past two decades ever embraced true musicianship so wholeheartedly? Trends be damned, Robbie loves a good horn section, loves lush strings, 70′s style piano and a little bit of funk. With this album he manages to blend his somberness, smarmyness, cynicism and joy into a unified front of emotion and virtuosity.
18. Lady Gaga – The Fame (2008) S:9 P:8 M:7 C:9 – 33
There is no question that Lady Gaga has already started a sea change in popular music. But in sound and image. And while I rather fear what she may have wroght (more is NOT always more!) There is no denying the unabashed fun of this album. Musicianship gets a tad buried behind producer RedOne’s “throw in the kitchen sink” arrangements, but a unique voice (vocal and songwriting) manage to shine through the cacophony.
17. Radiohead – In Rainbows (2008) S:6 P:10 M:8 C:9 – 33
Way too many sounces have listed Kid A as a top album of the decade. It is impressive for it’s sonic masturbation, but that’s about it. For their post OK Computer career, In Rainbows takes it for finally finding a way to combine their breathtaking new direction in sonic soundscapes, and managing to get back to writing some good songs at the same time. The sonic depth of the record flies you into a new world, and they pace they album just right.
16. Coldplay – Viva La Vida (2008) S:7 P:9 M:7 C:10 – 33
It feels like a concept album, thought I don’t know the concept. They deftly play with song structure, music textures and instrumental passages that leave you wondering where one song ends and the other begins. They take you on a journey. You don’t know where you’re going, but the scenery along the way is breathtaking.
15. Prince – Lotusflow3r (2009) S:7 P:10 M:9 C:8 – 34
Prince redeems himself on wax with his best record in well over a decade. Some of the songs are a bit twee, but man, he let’;s his guitar playing rip throughout like never before. And the space, detail and depth of the the production is stunning. Listen in great headphones and you’ll never want to leave this world.
14. Mika – The Boy Who Knew Too Much (2009) S:10 P:8 M:8 C:8 – 34
I’m going to have to write a post on artists that are just too gay for America! Mika evidently is one, as there is no other reason for his lack of success here. The album is cheeky fun and glam with earworm hooks that never leave your brain. Left field instrumental choices don’t diminish it’s mainstream pop impact, in fact, they just heighten it.
13. Depeche Mode – Sounds of the Universe (2009) S:7 P:10 M:9 C:8 – 34
The undeniable newness and cultural impact of Violator in 1990 is about the only thing that keeps this from being Depeche Mode’s best album ever. That and a couple of songs whose removal wouldn’t have been missed. But this is still a confident true return to form that started with Playing the Angel in 2005. David Gahan’s voice has never sounded better, and his acceptance into the songwriting fold paid some good dividends.
12. Muse – The Resistance (2009) S:7 P:8 M:10 C:9 – 34
Depeche Mode and Queen had a lovechild that is Muse. They keep getting stronger. The complex, almost classical instrumentation drives a rock symphony that makes you wonder if you should catch Muse live in a stadium or in a concert hall. Their arrangements are awe inspiring, with rich production and great pacing.
11. Michael Buble – Call Me Irresponsible (2007) S:7 P:10 M:10 C:7 – 34
Michael Buble has a knack for taking contemporary songs and making them sound like they belong on a 40′s swing record… if those old record of the past could even come close to the sonic richness of this record. The production put you right in the middle of a top notch band, and the excitement bubbles all around the listener. The instrumental arrangements have set the bar for this genre of music for the next decade or more.
10. Anastacia – Freak of Nature (2002) S:8 P:8 M:9 C:9 – 34
A sonic grab bag that is guided by a voice that, quite literally, would be chill inducing singing nursery rhymes. While the songs run the gamut, sometimes making you wonder what genre she wants to be a parts of, it can be forgiven in that the album flows as well as a great, multi-artist mixtape.
9. 1 Giant Leap – 1 Giant Leap (2002) S:6 P:9 M:10 C:10 – 35
This album was recorded remotely over several continents and assembled in the studio later into a sonic masterpiece that blends western pop with a cultural melting pot that never fails to amaze. Different instruments and voices come at you non-stop and brings a world unity that may never be seen in politics, only in art.
8. Scissor Sisters - Tah Dah (2006) S:9 P:8 M:8 C:10 – 35
Sit back and enjoy a fun, retro good time. The Scissor Sisters never aim for depth, they just want to have a good time, and the CD never fails to lift my spirits. Fun lyrics, indelible melodies and a party to your ears, this deserved more recognition in the states.
7. Eve 6 – Horrorscope (2000) S:10 P:8 M:8 C:10 – 36
I can’t understand why this album only produced one minor hit, because it rocks! The album hits like a demolition derby for it’s full length with dizzying wordplay, hook after hook (lyrically and musically). Smart, sophisticated, raunchy and rude… they should have been superstars.
6. The Script – The Script (2009) S:10 P:6 M:10 C:10 – 36
Only the production keeps this album from being my favorite album of the decade.. but hey, supposedly they recorded it in a garage. The songs are nothing less than some of the best songs pop music has seen in years, the musicians (especially the drummer) are at the top of their game, and they keep the album tight and brisk… and you longing for more when it is over.
5. Keane – Hopes and Fears (2004) S:9 P:9 M:8 C:10 – 36
Who knew music could rock without guitars. They rock, they soar, they take you into their world. Tom Chaplin may be the best, most emotional vocalist of the decade, and the melodies let him showcase it to the fullest. With Coldplay and The Fray having done so well here, it boggles my mind that they haven’t experience the success here that they have all over Europe.
4. Justin Timberlake – Futuresex/Lovesounds (2006) S:10 P:9 M:8 C:10 – 37
Not since Janet Jackson’s pairing with Jimmy Jam and Terry Lewis has a pop artist/start producer collaboration been so satisfactory. In a genre where so many artists try to have one track from ALL the star producers, it was refreshing to see him commit to Timbaland so wholeheartedly, and the risks they were able to take paid off. It’s worth the time it takes to learn all about an artist, and the exploration on this album proves it.
3. Alicia Keys – The Element of Freedom (2009) S:9 P:10 M:9 C:9 – 37
Will this be Alicia Key’s least successful album yet? The singles haven’t taken off yet. But this is by far her most accomplished album of her already accomplished career. Her songs have always sounded like they’ve been around for years, and she adds to that a sonic experimentation that is rarely seen in the soul genre. Synths and drum machines percolate around the standard soul combo and her piano playing for the most sonically rich and inventive album of the decade.
2. Pink – Funhouse (2008) S:10 P:9 M:9 C:10 – 38
While most of these albums are single producer efforts, Pink is the artist that is the exception to prove to rule. She may work with a half dozen producers on this CD, but her vision is so strong, and the will of her artistry so focused that you would never know it. From sonic pop-rock bubblegum to bluesy rock to simple, soul-searching ballads, Pink bares her soul with her best songs to date. This would have sold millions more if she had chosen a few different singles. (Yes, potential smashes were never even released). Not a weak spot, and a rollercoaster ride with thrilling highs and lows.. it truly is a funhouse.
1. Green Day – American Idiot (2004) S:10 P:9 M:10 C:10 – 39
Green Day was over. They were riding on Dookie for a decade. Everyone knew they wouldn’t be big again. Oops. Then they go a do something truly amazing. With… A Rock Opera??? Weren’t those supposed to be dead two. Green Day revived their career and the Rock Opera with this daring sonic blast of energy. They stayed punk, but showed the world that punk music doesn’t have to be limited to 3 chords and two minute songs. They showed that punk music could survive melody and structure and succeeded in putting out the best rock album in history.
Be the First to Comment 
Radio in America has been given a free ride for over 80 years. Songwriters get paid when their songs are played on the radio, but the Performing Artists, Musicians and Producers ARE NOT COMPENSATED from Radio in any way.
Sure the big Multi-Platinum Artists and Producers aren’t hurting for money, but they are NOT the only ones who benefit. As a songwriter I get some small royalty checks every year from a few sources that add up to a couple thousand some years. Not a fortune, but it goes a LONG WAY to helping me make my bottom line.
2. This will force more radio to switch to *Talk Formats*
Many bands face this question when 
It is a crowded musical field out there, Do everything you can to illustrate why you are special and deserving as an artist. Maybe that is truly best brought out in a simple recording, or maybe additional instruments and a unique arrangement will really bring what you have to offer to the table for your current and new fans!
Perhaps the biggest challenge solo artists face when 
If you play an instrument yourself… say keys or guitar… it can save a lot of time and $$$ in the studio, as you may be laying down the most definitive musical track… but if you are a singer who doesn’t play (or doesn’t play well), don’t despair… while costs could be a little more, you have one less musician who’s “weaknesses” you have to worry about, and you can have the best players front to back giving you your own sound.
I am very proud to have produced James Barbour’s (Jane Eyre, A Tale of Two Cities, Assassins) new single. The song is called “Walk With Me” and was written by Gary Burton. Proceeds will go to benefit Haiti disaster relief.
Why are people always complaining that music isn’t as good as it used to be. I think this decade featured some very fine music. I’ve seen a lot of lists that are so 
I’m actually quite anal about rating and ranking my albums. I have four categories that I rate 1-10, resulting in a possible 40 point total. The categories are: (S)ONGS – How good is the songwriting? (P)RODUCTION – How much detail, how much punch… did the 
19. Robbie Williams – Escapeology (2002) S:8 P:7 M:10 C:8 – 33
18. Lady Gaga – The Fame (2008) S:9 P:8 M:7 C:9 – 33
16. Coldplay – Viva La Vida (2008) S:7 P:9 M:7 C:10 – 33
14. Mika – The Boy Who Knew Too Much (2009) S:10 P:8 M:8 C:8 – 34
9. 1 Giant Leap – 1 Giant Leap (2002) S:6 P:9 M:10 C:10 – 35
6. The Script – The Script (2009) S:10 P:6 M:10 C:10 – 36
2. Pink – Funhouse (2008) S:10 P:9 M:9 C:10 – 38
1. Green Day – American Idiot (2004) S:10 P:9 M:10 C:10 – 39
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