Every quarter we update our listing with Sonicbids.com, as this keeps the posting fresh and content relevant in terms of what we are looking for.  Towards that end, it’s ultimately finding that one or two bands or artists that we feel we would be best suited to represent.

When submitting to us or anyone for that matter, you should think first – why am I submitting to this company and what do I hope to achieve.  Next, am I prepared for the honest feedback that this company might not like my music.  Everyone has their own objectives and vice versa so one should never get mad at an honest review and I’m hear to tell you – you are going to always get a straight answer from us; critics too!  Assisting you in any way we can is also what we strive to achieve, even if we choose not to work with you.  Whether it is sending you to an attorney we know or an agent or someone who could license your music, we always try to assist or at a minimum recommend a direction we feel would help you further in your career.  Sometimes, it’s just helpless and we can’t do anything.  One should never get mad that they’ve invested $10-12 towards submitting through Sonicbids or any service that provides instant EPK’s.  You have to invest in your career just as you do in any business but putting your money in the right spot is often difficult, and we recognize that; even with limited funds that most bands or artists have.  The lesson is to trust no one at first and educate yourself as much as possible. 

When submitting to us through sonicbids (paid service), we break down a few key things on a scale of 1-10 including but not limited to vocal melody, vocal tone, music hooks, music tone, uniqueness, etc.  It’s our little score card to tell you what we specifically thought of your music.  You can do what you want with it but hopefully it provides you some insight and helps you along your music career.  For us, it’s the least we can do as some people simply never get a response when not accepted by other companies and we want to show you the respect that you deserve.  We know how hard it is to get out there and gain a fanbase while putting your sweat equity into it.  

Oh, and please make sure you have a video on your sonicbids profile and lyrics to the songs and don’t ramble on and on in your bio – stick to key performance indicators – ie. We have grown from 4,500 fans to 75,000 fans in 2 years while performing 150 shows per year, selling an average of $500 per night in merchandise.

There have been massive changes on the A&R front over the last few months. Among the most notable changes include the return of Rob Cavallo as Chief Creative Officer for Warner Music in California, Ed Johnson joining Warner Bros. from EMI Music Publishing, and Darby Bowen joining Epic.  Over in the UK, there was a lot of activity as Zack Strubel joined Columbia, Jos Watkin joins Parlophone, Scott Jason joins Polydor, and Steve Proud joined Warner Bros. Ollie Hodge returns to Columbia-UK from his short stay at Columbia–NY, Angus Blair exits Island, Marc Jones exits Columbia, and Gary Harris exits Warner Bros. In New York, Steve Ralbovsky’s label Canvasback Music joins Atlantic from Sony while Pete Giberga exits Epic, Daniel Davis exits Atlantic while Jamaal Meeks exits SRC. And the big label news (as in not so quietly kept secret) is that Universal Music Group’s CEO Doug Morris is making plans to have Universal’s international chief Lucien Grainge take over as CEO sometime this summer (Morris is expected to remain as Chairman).

Who is Jason Falkner you might ask?  Many will…

Jason is one of the most under-rated pop songwriters of our time who is not that well known; a mere cult following between LA and Japan.  He’s written solo records – playing every instrument, played bass with Air, guitar with Beck,  wrote songs for Brendan Benson,  wrote with Travis, played in Jellyfish, the Grays, etc.

I haven’t seen Jason in quite some time so it was nice to see his new band and songs…  his latest record won’t be out until a little bit later – although already released in Japan on Noise McCartney Records.  I have to say – this time around – I just wasn’t feeling the music… which often happens when a good singer/performer is at the mercy of a crappy PA system like was found at Spaceland.  Also, I think i’m tired of some of those same songs and format I hear every time…  relatively nothing new in terms of song-writing and I guess I just expect so much more out of Jason.  Nonetheless, the show was good and I always enjoy hearing Jason.

Jason – it’s been a while…if you are reading this… hit me up – let’s license some music and write some songs with some key artists I have!!

Check out jason as www.jasonfalkner.net

I was fortunate enough to score a reasonably priced ticket from another fan and joined 103,000 other fans at the Rose Bowl in Pasadena on October 25th.  Opening act was the Black Eyed Peas who were really fun and entertaining, with Slash joining them for a cover of “sweet child o’ mine”.  The 360 tour stage was vastly large at a cost of more than $40 million to build; imagine a giant spaceship claw that rises 200 feet up.  It’s hard to believe but U2 still haven’t broken even on the tour… the cost is approximately $750,000/day of operating costs… despite selling out nearly every stadium/theatre.  Anyhow, what a joy to see these lads from Ireland rock out finally.  I have been a fan for more than 25 years but had never seen them; lame – i know!   I can still recall when Rattle and Hum movie came out at Midnight and I got a free album with it.  I was such a fan and still am of the Joshua Tree – one of my all time favorite recordings.  Even with all the technology and visuals that u2 employs with their big shows – the songs from the Joshua Tree speak to the soul with just the melodies alone.  Amazingly, the red seats at these concerts are auctioned and will raise approximately $9 million to charity.  Bono has done a lot for the world, as has u2 and it’s inspiring… one love, one love, one love.  A highlight for me was seeing the Edge, as I have been a huge fan of his guitar work for many years…  I don’t know any guitar player who thinks that much about their wall of “sound” per se without the desire to be a total shredder showman… but he’s just humbly there doing his role as equal with his bandmates.  A lesson to be learned for many…