Featured Artists
Current News
Signup - Login
New member:
User Name :
Password :

Read More>

Read More>

Forget Password? Click Here

Welcome to IndieMusicCorner.com, This site was quicly rebuilt after Rock.com decided to drop the Indie bands involved. We are rebuilding this site and the bigger Musicgroups Network. To gain the revenue required we have developed this special package::

Our all new promotional EPK system (Electronic Press Kit)

This package includes:
Private band pages within our network
A locked banner ad on musicgroups.com
Distribution package
Featured placements on a number of sites
Listing in Yearning.com and Musicgroups.com Directories
Play in our radio systems and Jukebox
Managment advice from our staff

TODAYS DATE :: echo date ("dS of F Y");?>
Sign-up for our E-Mail Newsletter

Archive: Fall 2005 - Winter 2006

Free music pages for
Independent bands!
Sign Up for Indie Corner
Indie Corner Login
Forget Password?
Need Help?
Check out this great Band
Chealsea Doll Going Down International Businessmen
Chelsea Doll
Buy CD:
Eliza's Playground Lyzanxia Veil of Thorns
Eliza's Playground
Buy CD:
Ominous vocals over heavy melodic guitar playing make this dark, brooding song an impressive example of what Peter Criss and Montague can accomplish when they collaborate. Co-written with the Catman. Say hello to Marti Dodson and her defiant anthem Girl Next Door that stands up for women the world over. Moving up Contemporary Hit Radio charts. Los Angeles’s premiere power trio is set to explode. Blues-based Hard Classic Rock.


Check out this great Artist
Sum Thin Ugly Field of Grey Spoilsport
Sum Thin Ugly
Buy CD:
El 84 Grizzly Online Sam Morrison Band
Buy CD:
The Vue ghengus 23 Vesta



The Musicgroups.com Network News :
Post your music info and news here -

Community News

Post your music info and news here -

Musicdish.com - Current News Articles

Mellani Day and Dazed: Chill Songs for Hot Times
by Mark Kirby,

There is a Chinese curse that states, "May you live in interesting times." That says it all for the last half of 2006. It's a shell-shocked world of uncertainty, with chaos abroad and tension at home (or vice versa depending on where you live). Our media culture is chock full of sensational images and narratives of conflict and violence. From gangsta rap to heavy metal to FOX News, it is an endless litany of explosions, dark fantasies, and common criminals made into primordial demons. In this climate the most radical of responses that an artist can make is to create harmonious, gently real, or uplifting music. Mellani Day and Dazed are such artists.

Their EP Shy to Sure and the follow-up CD Mostly True (Eric Gunnison and The Dazed Band & Mellani Day - Mostly True) are heavily based on a mixture of jazz, calypso-reggae, pop and blues. Picking up from where Joni Mitchell collapsed in her derailed-by-death collaboration with Charles Mingus, Ms. Day takes a singer-songwriter's approach to lyrics and a jazz player's rooted but boundary breaking approach to music. From the opening cut, the bar bluesy "If They Only Knew" (Eric Gunnison and The Dazed Band & Mellani Day - Mostly True - If They Only Knew), to the final song, the country/Irish folk influenced "True Love (A Wedding Song)" (Eric Gunnison and The Dazed Band & Mellani Day - Mostly True - True Love (a Wedding Song)), Ms. Day and her group convey a range of emotions without screaming, melodramatic whispering, or maudlin sentimentality. They also avoid the pu pu platter approach to music (here's jazz, now here's blues, and now a reggae song), and contrived homogenization (great for yogurt, bad for music).

This musical odyssey had an unlikely beginning. "Even though I grew up in LA, my first musical memories are of mountain folk songs, country tunes and old hymns," she said. "My Dad was from Virginia and my Mom from Missouri, and both came from musical families."

"My dad used to sit in the corner of the living room every night and play his guitar and sing ‚ lots of Johnny Cash and cowboy and Elvis Presley songs -- and my mom would start singing with him and then when the mood hit, all us sisters would join in as well. I took piano lessons from the age of four, so sometimes I would play along. I would be practicing and playing a song like, "Happy Days Are Here Again" and my dad would join in and then my mom. On my dad's side of the family things were sincerely like the soundtrack of "Oh Brother, Where Art Thou." When I saw that movie, it was like going home! Mom's side of the family was more cosmopolitan. I have an old cassette tape recording of my Granddad and his brothers singing a bunch of old pop songs (like "The Sheik of Arabie"), playing guitar and with full harmonies. Mom was also the one who made sure we got the church music side. We sang all the old hymns in choirs and shows."

Music was clearly introduced to Ms. Day as a spiritual and healing force, as well as something satisfying and fun. Those who love and appreciate one form of music have a tendency to love and appreciate other forms of music, which is how artists and listeners develop a passion for it.

"I'm embarrassed to say I used to love the Monkees, and Sonny and Cher. When I was in junior high, I used to listen to the radio and use a cassette tape recorder to create my own mix tapes. Songs like, "Have You Seen Her?" and "I've Got a Brand New Pair of Roller-Skates" stick out in my mind. But when I was playing piano, I wore out a couple books of boogie-woogie and a Reader's Digest Book of classic pop and show tunes. I would play those songs over and over. My sister and I would fight over who got the Elton John song book. In the end, I let it go to her."

In addition to this musical nurturing at home, Ms. Day sang in school groups and church choirs. But what was her first real band like? "My own first band would have to be while I lived in Germany. I went to Germany the first time right after I graduated from high school. I stayed with a German family for a month-long exchange student program. I fell in love with it. Then my husband and I went back on our honeymoon for two weeks. We decided to get jobs and stay for a couple of years. One of the places I worked at was an International University in Heidelberg where I formed a band called The Administration Blues Band. It started as a surprise joke for the students, but we continued it. We sang at student events, and even in a street festival in downtown Heidelberg one year, to represent the university."

When Ms. Day and her husband left Germany for Denver, CO., she wrote songs and started singing with a cover band. "I originally thought I would be a songwriter and pitch my songs to others. But instead of doing short demos with other singers and musicians, I chose to do a 3-song EP with the best people I could find to work with. I felt that I could use the recording as a demo to pitch the songs, but also as a product to sell at shows. Along the way, each song on that first project, Shy to Sure, had some success in its own right. And it received some amazing reviews. So that gave me the confidence to continue, start my own band Dazed, and record a full-length project, Mostly True."

Shy to Sure is more genre-rooted, with "Losin'," a down and dirty rhythm and blues, and the title song, a hard swingin' jazz tune that Anita O' Day would've loved. The third cut, "Jade to Sapphire," hints at Ms. Day's jazz adventurism and early interest in show tunes. Mostly True, which features keyboardist and co-producer Eric Gunnison and Dazed, is a more unified effort. The opening cut, "If They Only Knew," contrasts Ms. Day's smooth jazz vocal style with a blues that takes a while to catch fire and then burns with blazing guitar by Jamie Krutz, and the muscular might of bassist Michael Willis and Keith Whiting on drums.

The recipe of smooth melodies and explosive instrumental music was followed by Motown and other old schools of rock and pop with results that are self-evident, yet missing almost completely from today's music. Like great music of the classic rock and soul era, there is meaning to the singing: "They're angry, and they're fightin' away / Planning pointless battles, don't know what they're fightin' for / Girls next door and presidents shake their fist against the Lord and his anointed one / They say, "Take your rules and regulations, we won't be bound by obligation to your so called Son."

These words are not as intense as those once sung by jazz great Abbey Lincoln, but they resonate today. "Something to Swear By" is the type of jazz ballad that could have been played thirty years ago and could be played thirty years from now. It has the type of structure that old soul and classic jazz has: a memorable melody, harmonies that take you on an emotional journey, and emotionally satisfying sentiments expressed by a great voice. In other words, it's a great song and Ms. Day sells the hell out of it. It starts with ethereal keyboards and percussion, then she sings what it's all about: "You're wondering about me, You've been this close before / You wanna' know, is this the real thing, If not you're out the door / Well rest your mind you have arrived, And I'll make you believe."

Her intro gives way to a rock groove. The chord changes move over unexpected hills to resolve in the valley, carrying the listener on a gently exciting ride. Like all good pop, the music and lyrics are merged perfectly. The musicianship, once again, elevates the song above the mundane. Mr. Gunnison plays a fluid solo, with melodic runs and counter chords that burst from the song's emotive underpinning. Percussionist Sky Canyon solos on the rich and rarely heard vibraphone with the type of soul vibraphonist Roy Ayers is famous for.

[Kirby] When did you start playing and studying jazz? What drew you to this music?

[Mellani Day] I am naturally drawn to the spirit of jazz. I approach it as a kind of rebel music that doesn't conform and doesn't necessarily have to repeat itself and I love that. I feel like that defines me ‚ I get bored quickly. I have learned a lot from working with Eric Gunnison and the musicians in my band. I think I acquired the taste for vocal jazz from my early piano-learning years, where I played the old show tunes and pop songs that are now considered vocal jazz standards.

"It is such a complex art, and I am relatively new to it in practice. When non jazz industry people hear my stuff they say oh yeah, that's jazz, but when jazz people hear it, they say oh that's pop. So I'm kind of in this twilight zone. I've had a couple jazz experts tell me that my music has a wider audience than jazz. Hard core jazz lovers will reject my music outright, but then the next listener says, "It's so jazzy!" My distribution company put me in the "jazz vocal" category (and I threw in "pop" ‚ you know ‚ for that wider audience), so I'm trying to learn how to live with it!"

Going back to the 1940s when they used songs by popular music composers such as Rogers and Hart and the Gershwin Brothers, Ira and George, jazz musicians have always taken pop songs and reinvented them. In that tradition Ms. Day does a rendition of "I Want a New Drug" (Eric Gunnison and The Dazed Band & Mellani Day - Mostly True - I Want a New Drug) . Any great interpreter of songs, whether it's Al Green turning the Beatles' corn ball "I Want to Hold Your Hand" into a love cry of desperate passion, or Johnny Cash turning "Hurt" by Nine Inch Nails into the flip side of "My Way," finds another side, another emotional realm, in said song. Here, Day and Daze achieve the same thing. Her moody jazz blues version of the New Wave, get-wrecked bar anthem by Huey Lewis and the News reveals the joy and sadness of a person separated by minutes or years from a special source of love. Like the man said, love is the drug.

[Kirby] What do you consider to be the jazz element in your music, which has elements of rock and pop?

[Mellani Day] That's an "on-target" question relating to what I am trying to understand about jazz and my music myself. For me, the jazz element is that, while the basic melody structure and lyrics stay within a recognizable song form, the presentation can, and probably will, be slightly changed each time, especially in the solo sections. I choose to have jazz musicians playing my tunes so that they will infuse more complex phasing into each song. Although jazz builds on the past, by default it is an ever-changing form.

"If you have a musical makeup, if you are a creator of new music, then you find yourself absorbing music from wherever it hits you, and reproducing it in your own creations. The world music, Latin and reggae I've heard; the classical music and opera I heard in my 13.5 years in Germany; my early music influences and the pop and rock of my adult years, are all in my musical makeup. I appreciate music of all kinds for all my varying moods. I love native rhythms. I love unusual instruments. I love complex sounds and clever lyrics and stories. All of this I dream to incorporate into my music. Yet vocal jazz pulls me closer into pop because of the verse, chorus/hook song form. The jazz element comes out when you play live with musicians."

[Kirby] Name your top five songs and why.

[Mellani Day] Right now I am fascinated by Fiona Apple's "Extraordinary Machine." When I first heard it, I thought it was some old school jazz diva. What a surprise when I found out it was her. Now I am a fan. The song is fresh and syncopated, and not your everyday pop. I am also very intrigued by Matisyahu. If you listen to his lyrics, here is a very spiritual man, not shy ‚ joyfully expressing his faith. "One Woman For Me" just sticks in my head. How corny and yet how very, very sweet, uplifting and refreshing in this culture. If I were to do a jazz standard besides "Summertime," which I often sing, I would like to do "Peel Me a Grape." I love the attitude! In trying to get scat in my head, I bring out Ella Fitzgerald's "How High the Moon." She's the master and it's awe inspiring to listen to what must be at least three minutes of straight vocal athletics. "Morning Has Broken" rates high ‚ an old hymn that Cat Stevens turned into a hit. It's spiri! tual and soothingly melodic.

[Kirby] What do you love about music?

[Mellani Day] It's an outlet for my creative side. If I stop for a while, I feel like there's a huge hole in my life. I love music because it connects with me and seems like it wants to draw me in. Sometimes it has a life of its own. Every culture has it. It can be freely shared. It can be therapeutic and healing. It can reflect a variety of emotions. It's transportable. It can change lives.

Visit Mellany Day At These Sites:

Provided by the MusicDish Network. Copyright © MusicDish LLC 2006 - Republished with Permission

Make The Most Of Your Music Player On MySpace
by Anne Freeman,

MusicDish Network Sponsor
Once you've established your myspace site, selected a terrific photo or graphic that accurately signals your primary artistic sensibility to casual surfers, and your band name or label name signal the same (hopefully), a few practical strategies can be employed to help you maximize your marketing efforts. These basics are worth mentioning because I see so many artists overlook them that I cannot assume that you know to address them. We'll start with your music player, as your music is, of course, key to your marketing efforts.

By the way, before we move on, I'd like to mention one simple strategy I've seen some solo artists employ on myspace that helps to inform surfers that they are, in fact, an artist: they add the word "music" behind their name. Example: www.myspace.com/kellybrockmusic. It's simple. It works. Do it.

OK, back to your music player. I want you to answer these questions about your music player:

Your Music Player

What does you music sound like?

Crummy sounding demos and recordings sound crummy on the myspace player. Period. You gain nothing by advertising to potential fans, venue owners, bookers, and industry folks that you have crummy sounding demos. I've been on terrific sites only to be disappointed the moment the music began, and not because the songs were bad, but because the sound was terrible: muddy vocals, little or awkward mixes, and the like. You must treat your myspace site as a professional marketing vehicle because your site is a professional marketing vehicle. Make your demos/recordings clear and ensure your vocals are upfront.

Did you post your lyrics?

People like to read lyrics ‚ that's one reason why they still buy CDs or search the Internet for lyric sites. Fans love to know the words to your songs so they can sing along. If you're a songwriter pitching your songs, then lyrics are a must. Don't make folks look for your lyrics elswhere or try to write them down or memorize them ‚ post them on the lyric page of your music player. Make it easy for people to understand your songs and like your music. And don't forget to include the following on your lyric sheet:

* Authors/composers of the song
* Your publishing company (if you are an unsigned artist/songwriter, then you are your publishing company)
* Your performing arts organization affiliation if you have one, such as ASCAP, BMI, SESAC
* A copyright notice! You can simply type "Copyright 2006". Don't neglect to add this important information.

I would also suggest that you include your business mailing address and contact information, along with your band website, on the lyric sheet so that if someone copies and saves/prints out your lyric sheet, your contact information is readily available. Make it easy for people to find you.

Do you permit rating and comments?

Use your player to gain valuable information about how fans perceive you and your music. Don't be afraid to let people rate and post comments about your songs. If the ratings are poor and the comments are negative, figure out why and use that information to improve your songwriting, instrumentation or recording. You can always delete negative comments, but at least you've received input about your music to help you improve what craft. In addition, comments give you an opportunity to contact the commenter, thank them for their comments - even if they are negative - and turn the "friend" into a fan. The same goes for song rating.

Have you enabled the Add feature to your songs?

When I land on an artist's site and hear a great song, I may want to feature that artist on my myspace site for The Aspiring Songwriter. I regularly feature myspace artists who are friends on my site and play their song to promote them. I cannot tell you how many band and artist site I visit that don't enable the add feature on their music player!

Ask youself this question: "What am I on myspace for?" The whole point here is to get people to add your song to their site so that everyone who visits their site hears your song (and the play is counted on your music player song counter). If your fan's visitor likes your song and clicks on the the "visit" option of your fan's music player, they will be directed onto your site where, hopefully, they will ask to join your site because they like your music so much, and you have a potential new fan because he or she was sent from your other fan's site. And, that new friend/fan may add your song to their site. Comprende?

The music player add function is viral networking at its simplest! You will rarely hear me scold, but this is such a no-brainer that I am confounded when I run across artists ‚ and some really good artists ‚ who don't enable their player's add function. I'll assume it was a momentary lapse in good judgment and I'll be sure to revisit your site sometime ‚ if I remember you ‚ after you've had the chance to make the necessary adjustments. Enabling the add function does NOT enable fans to download your song; it only permits them to stream your song from their site much like web radio. Do it.

Do you enable the downloads?

If you want to enable free song downloads, let me run this idea by you: Do you want potentials fans to download your song from your myspace site and your have no way to obtain precious contact information from that downloader (e-mail, address, etc)? I wouldn't.

If you want to offer free downloads, I would argue that you get those myspace friends to visit your official fan site to download a song, and require the the downloader give up on e-mail address at the very least to benefit from your largess. Your purpose is to build your fanbase, and if you don't have their direct contact information, such as an e-mail and/or a mailing address, then you've squandered the chance to obtain that information by enabling downloads on your myspace site. There may be others who disagree with me on this point, but I'd rather have the contact information as an exchange for a download.

If you don't have a home page or download service that enables you to obtain the downloader's contact information, then at the very least post an offer on your myspace site indicating that you will e-mail your myspace friends a free MP3 of the song in question IF they send you their e-mail address. Don't give away your goods and get absolutely nothing back for it!

Do you employ the song graphics option?

Again, a no-brainer. Let your fans see your song while they're hearing your song. Don't waste another opportunity to more effectively market your music. Fans want to see and hear. Get that graphic or photo up on that player, a different one for each song!! Yes, I'm scolding again, but there really is no excuse for not marketing your music properly, especially when the marketing mechanism is free.

Should you use the song rotation option?

Whether you push one song by making it the default song when someone lands on your myspace site or let the songs rotate depends upon your overall marketing plan. If you're pushing a song as a single, then default to that song playing when your site is opened. Build up the interest and the play numbers for the song. Tie a featured song with a free download on another site (for which they must give your contact info), build your fan base and create some press about how many friends turned into fans by signing up to get their download. Make myspace work for you. If you're not pushing a song as a single or as a free download, or you are a label that is promoting a variety of artists, then letting the songs rotate makes sense.

MySpace Band Feature: The Amino Acids

Let's take a look at a site that's working the myspace player the way it should be, one of my myspace favs, The Amino Acids, at www.myspace.com/theaminoacids . The Amino Acids, a surf-punk band from outer space, has a great myspace site. They've done just about everything right, but for this discussion I want to mention their music player.

Visitors can rate and comment on each of their four songs as well as add them to their sites, promoting The Amino Acids. They don't have lyric pages because the Amino Acids are primarily an instro band, so in this case lyrics are a moot point. You cannot download their songs from the myspace player, but they provide their fans several options to migrate from their myspace site to download songs elsewhere, where the band can garner more information from the fan. And, each song is presented with a great graphic.

Just about everything on The Amino Acids' myspace site drives home their primary artistic sensibility, and they make good use of the strengths of myspace. The Amino Acids also give their fans plenty of opportunities to leave their myspace site to places where they can obtain fan information. Stop by the Amino Acids' myspace site: It's worth a visit. For a hoot, watch their live video when you visit. These guys slay me! Congrats to The Amino Acids for a job well done.

Provided by the MusicDish Network. Copyright © MusicDish LLC 2006 - Republished with Permission

What Every Musician Should Know About Self-Promotion
The 29 Key Principles of Independent Music Marketing
by Anne Freeman,

MusicDish Network Sponsor

Title: What Every Musician Should Know About Self-Promotion: The 29 Key Principles of Independent Music Marketing
Author: Bob Baker, The Buzz Factor
Genre: Self-help
Format: CD
Website: www.bob-baker.com

For Bob Baker, founder of The Buzz Factor, marketing is his profession and his passion, and marketing for Indie bands is his specialty. Bob has authored numerous books on various aspects of running your Indie band or label as you should: as a business.

Recognizing that not everyone has the time or inclination to read through his various business books, Bob has issued a new instruction CD, "What Every Musician Should Know About Self-Promotion: The 29 Key Principles of Independent Music Marketing," as a listen-to-when-you're-driving-or-walking-or-doing-any-mindless-chore primer for busy Indie artists and start-up labels who need a solid overview and introduction to Indie Marketing.

This 68-minute CD is perfect to those new to marketing, as it features a broad array of topics that you must familiarize yourself with when planning your business strategies, whether they are for the release of new product, booking gigs, marketing to fans and niche markets, and more. Some of the 29 topics reviewed in this CD include:

* Killer media exposure tactics most acts never use
* The biggest mistakes bands make when promoting themselves
* Internet marketing strategies you need to be using now
* How to get the most bang from your live shows
* Clever ways to boost CD and merchandise sales
* How to make the most progress in the least amount of time
* The most effective ways to reach your best fans

What I especially like about this CD is that there is not fluff, just some basic facts and principals that are time-tested, but that many Indie artists and labels fail to use to their demise.

"What Every Musician Should Know About Self-Promotion" lays the groundwork for planning your marketing campaigns. Bob speaks clearly, sticks to the topic at hand, and is encouraging. The CD also provides a jumping-off place for you to delve more deeply in any of the subjects introduced in the CD by following-up with books and articles available through Bob Baker.

At $11.95, it's hard to justify passing on "What Every Musician Should Know About Self-Promotion," especially if you've never studied marketing. Take a listen to some samples on Bob Baker's site, http://www.bob-baker.com/buzz/secret.html. And if you want to have half a chance at succeeding in your Indie music career, marketing is a must!

Provided by the MusicDish Network. Copyright © MusicDish LLC 2006 - Republished with Permission

Mashed Buddha: Subdue Your Mind
by Mark Kirby,

Drum 'n' Bass. Hard step. Jungle. Ambient Techno. The house music of many houses. There are many styles of electronica, a/k/a electronic music. They all have one thing in common - they are mostly the musical vision of one or two people who are armed with keyboards, beat machines and other source material like samples of records and even the occasional "live" instrument. With advances in technology a musical artist has autonomy to be the corollary to the singer songwriter: the composer performer. Mashed Buddha, the nom de guerre (the battle name) of John Corda, is one such artist. Mashed Buddha

On his new CD Subdue Your Mind, he brings to the electronica genre what it is often lacking: form, musicality, variety and substance. In other words, music. Electronica in all its offshoots often sounds like the way the music was created, like machines. Whether they are powered by air through mouthpieces, by fingers on strings or hands pounding with sticks, musical instruments are inert tools ready to be shaped and animated by human beings.

The great musician and composer Frank Zappa once said, "A composer is a guy who goes around forcing his will on unsuspecting air molecules, often with the assistance of unsuspecting musicians." Not content to find the perfect band Corda decided to go it alone and create his musical without unsuspecting musicians. While firmly in the mode of high intensity electronic music, he draws on a listening and playing experience that includes jazz, rock, jazz fusion, reggae and funk.

[Kirby] How would you describe your music?

[John Corda] The short answer is drum 'n' bass and keyboards. I also like to think of it as electronica that doesn't take itself too seriously. Mostly it's a blend of wild musical ideas that constantly run through my head. I tame them with soothing words.

The opening cut "Buddha Digs" is a crash and burn jungle number. Jungle to this writer is mainly old fashioned soul music drumming played by a drum machine and sped up incredibly. This cut uses the jungle beat, but instead of a machine, it is played by Corda by hand, on a keyboard that triggers the drums. The excitement and expressiveness of the human touch gives the music some soul. A dissonant chordal piano riff opens the cut and comes in once or twice more in the song. This sparse, tasteful playing but it creates a sense of forward motion. The various riffs and sounds -chime-like melodies, grinding bass, and maddening percussion - build up and break down, enter and exit and overlap in a way that creates a logical composition. Like the music of Frank Zappa and Edgar Varese, Mashed Buddha uses sounds for musical ends, much like that of a symphony orchestra.

The next song on the CD, "Martyr," is an example of taming the wild with soothing words. Over a driving bass line that would rock a club at any time, any place over the last twenty years, and a mid tempo funk rock drum beat that makes you move, Corda sings in a sinister, low breathy voice that is the quintessence of cool: "You come to me with your apple/ and try to break up my Zen/ I'll away your innocence and make you born again/ I don't want to be a martyr/ I have no thing to defend / you will not go any farther / If it's not a means to an end / I think that this thing is backwards that I have to pretend and I know that you want me/ in spite of all that I've said / I don't want to be a martyr . . ."

The warm, 70's sound of old school synthesizers adds to the odd sense of timelessness of this song, as does the disco-era feel and swing (not to be confused with the rave era feel of fast paced sputter of a machine going haywire before it explodes). The middle section of the song does what most music of this type fails to do - break up the groove with something that prevents boredom and repetition. In other words there is a tasty bridge of a shifting bass line and catchy pop synthesizer from the cookbook of disco master Giorgio Moroder.

[Kirby] When did you start playing music?

[John Corda] I started playing piano at around age eight and took lessons starting at age nine.

[Kirby] What kind of music did you listen to growing up?

[John Corda] My parents had public radio on a lot, so I was exposed to all kinds of classical music, ranging from Mozart to bizarre 20st century stuff that I couldn't get my head around as a child. But it certainly had a lasting impression. I also listened to plenty of early jazz. When I was 12 I discovered Led Zeppelin and became absolutely obsessed with 70's rock bands and then, by the time I was in high school, 70's fusion bands like Weather Report and Mahavishnu Orchestra.

This interest in prog rock and fusion lead to Corda moving beyond, while incorporating, the lessons learned from studying traditional music. The rock and jazz fusion bands of that era inspired experimentation and inventiveness and molded the musical mind and spirit of this young musician. "As I learned more and more about how the puzzle pieces of music fit together, I would often experiment and make things up on the piano" he told me. "When I started getting electronic keyboards, I used the built-in sequencers to record parts and add beats. I did that with every keyboard I've owned until I got into computer-based recording in my 20's. My first project involving other humans outside of school was a great garage band called Intruder. And by great I mean terribly bad."

After this rock phase, Corda started a keyboard-based jazz trio with a saxophone and drums. "I played bass lines on the keyboard with my left hand. We were called Fluid Ounce, a name that I still love. We played jazz standards and kinetic original pieces that stood in stark contrast to the jazz. It was the first time my music was played by a band." He then dabbled in a jam band and other jazz gigs while in college, but he eventually went back to composition, this time with the aid of computerized recording and mixing. Looking for a way to combine his various musical tendencies, while maintaining creative freedom and the need to communicate with an audience, he discovered electronica, particularly jungle and drum and bass. "Drum 'n' bass music is extremely complicated rhythmically, yet has an audience, unlike so much odd meter fusion where complex rhythms also prevail. On the opposite end of the spectrum is pop music, which has an enormous audience but is co! mpletely uninspiring to me usually. Electronic music gave me artistic freedom while tapping into an audience that wants to listen."

His melding of complex rhythms and a pop sensibility is evident on the song "Spikes." A melodically descending keyboard riff opens the piece, creating a plaintive, melodramatic feeling. Then the ultra fast break beat of the manual keyboard drums - which have the same human soulfulness as heard on "Buddha Digs" - enters and counters this mood. Echoing sounds, electronic swirls and a soft, pulsing bass flushes out the song; what at first seems like random noises, are actually rhythmic and melodic motifs that relate to and build off each other and the opening riff. This is the essence of Mashed Buddha's music: something for the ravers and the x-fueled dancers, and something for the old heads and music nerds.

[Kirby] Unlike most jungle and drum 'n' bass, your pieces have a distinctive song structure, not just beats and effects. How do you write and put together your compositions?

[John Corda] It's different than writing for musicians, which is good and bad. It's good in that I'm completely unlimited, and so much of it is synth parts or loops that I layer. It's a different way to paint the canvas than writing for other players. The problem is it becomes a real challenge to perform these pieces live with traditional instrumentation. It's not impossible, however, and I plan on arranging some tunes for my live neo fusion band. As far as beats and effects go, if that's all there is, I get bored fast. So structure plays a part in that I need to hear a change occur or I'll go batshit crazy. I try to be as melodic as possible, and my goal for the next CD will be to bring as much keyboard soloing into the mix. I want to play and compose, not just compose.

This direction can be heard on the song "Vibin." Over a relentless groove featuring spastic drums and fiery sounds, electric piano and synth riffs and solos come in and out of the musical soup along with dark, dream-like vocal phrases. The first solo merges with the shifting harmonies of the bass and keyboards (where the solo ends and the composition begins is very murky - that's a good thing) which goes a bridge of sorts, which suddenly snaps the listener into second half of the song, which reprises the opening bass riff, but adds percussion breaks and more mad keyboards.

In varying ways this is the modus operandi of Mashed Buddha's style. As always, everything plays off of the ass kickin' synth drums played by the man. "These days I use a Trigger Finger for beats, which is basically a set of small drum pads for fingers," he stated. "I rarely if at all use loops from collections." One of the rare times he does use sampled drum loops is on the song "Edge." Over phat sampled hip hop drum loops and a sinister, Dr. Dre style groove, the melodic call and response of the deep keyboard riffs and melodies writhe and undulate like bubbles in flowing lava.

Besides beats and sounds there are distinct parts and melodies that separate the songs. The song "Martyr" is one that this writer finds himself humming and thinking of randomly throughout the day. This also is an encouraging sign for the Mashed Buddha live show, which for most artists in this genre, Chemical Bros. included, is boring unless drugs and the possibility of sex are there to make up for the music's lack of creativity.

[Kirby] What is your live show like?

[John Corda] In the future the show will be an exciting rendition of the Mashed Buddha sound live and direct. I'll be playing a couple keyboards and triggering loops and my friend will perform on Kat electronic drums. There will be a lot of improvisation.

Once again my theory that great music exists in all genre and styles and that creativity knows no bounds has been borne out. Like a ghost in the machine, this artist has taken the stuff of life from living creative music and applied it to a musical form that is often lifeless. For more information on Mashed Buddha and John Corda or to obtain this CD of thinking people's jungle drum 'n' bass visit his web site:

Provided by the MusicDish Network. Copyright © MusicDish LLC 2006 - Republished with Permission

Miko Marks is Freeway Bound
By Timothy Peters,

If Miko Marks is freeway bound, it's for good reason. With a hook-filled, deeply felt debut CD under her belt and a bona fide hit single to go with it, this Michigan native is definitely going places in contemporary country music. Released by Oakland-based Mirrome Records, Freeway Bound is the CD, and the Sunny Russ penned title cut has enjoyed international airplay, including 11 weeks on the European Country Music Association charts, not to mention the attention of Nashville cats here at home. Fans of Shania Twain, Reba McEntire, Faith Hill, and Patty Loveless will want to check out Miko's positive country sound, tinged with a little R & B sass. And it doesn't hurt that she looks great in a cowboy hat.

Produced by legendary guitar and studio ace Ron Cornelius (Willie Nelson, Johnny Cash, Bob Dylan, Leonard Cohen, Confederate Railroad) at Music Row's FunHouse Studios and assisted by crack session players like David Hungate on bass, Jo Spivey on fiddle, and the wonderful Brent Mason on electric guitar, Freeway Bound is a splendid mix of honky-tonk heaven and clean, crafted Nashville pop. It features seven of Miko's own songs, with their strong, affirmative lyrics and irrepressibly catchy choruses.

The autobiographical "Mama" - yes, she proves that the classic country theme still has life in it - and "Feeling the Rain" are particular standouts among her own compositions, while Miko makes the Sunny Russ, Marty Rainone ("Kickin' Back"), and Bobby Atkins ("Don't Come Crying to Me") tunes completely her own Miko Marks - Freeway Bound.

Born of Mississippi stock and raised in the industrial heartland of Flint, Michigan, Miko Marks took to music early: "I can honestly tell you that I can't remember a time when I wasn't singing. I was raised in church and was a natural at singing in the choir and gospel plays." Like many of the northern factory towns that were magnets for job-seekers, Flint was a melting pot of cultures and musical styles: "I had friends from many different backgrounds and I became aware of country music at a young age. I remember that along with rhythm and blues and gospel, I was also being exposed to Kenny Rogers and Loretta Lynn and Patsy Cline."

As the new single "Mama" recounts, the precocious Marks entered her first talent contest at age 5: "I sang a song called 'Searching for Love,' which was a mature song for me to sing at such a young age, but I put my heart and soul into that tune." She lost the contest and felt the sting, as the new video of "Mama" poignantly depicts, but her career path was established. The young Miko started writing songs "at 8 or 9" and following a Flint Central High School choir stop at Carnegie Hall, wound up with a music scholarship to Grambling State University in Louisiana, where her classmates included hip-hop diva Erykah Badu, who remains a friend to this day. Marriage brought her to San Francisco and northern California, where she now lives.

Producer Ron Cornelius gives Freeway Bound a full but clear, uncluttered sound, totally compatible with Miko's own philosophy that "there is beauty in simplicity." Jump-started by Brent Mason's sputtering Fender guitar and Eddie Bayers' drums, the title cut leads off with a take-no-prisoners exuberance, and "Kickin'Back " continues the celebration of independence and self-empowerment. By time the slower, dreamy opening tempo of "Mama" kicks in, with Scott Sanders' classic country petal steel riffs, you know you're firmly in the pleasure zone. It's straight-ahead country, but utterly contemporary ‚ no phony retro touches, just crisp, committed playing and a vocal style Miko characterizes as "very raw and earthy with an unforced innocence."

Miko praises the session players and producer Cornelius for making her feel comfortable in the studio: "The players, like David Hungate, Eddie Bayers, and Jo Spivey, made it so easy for me to see that I could be free and relax and do what I do because they sure took care of the rest. Ron Cornelius is an awesome producer. We both knew we were working on something special and everyone treated it as such."

Miko is also a regular performer on the Bill Pickett Invitational Rodeo circuit, founded by the African-American rodeo pioneer. As Miko says, "It has been one of the most surprising times of my career. In every town people really love the music and don't hesitate to tell me so." A fledgling rider, she admits: "They say horses can feel fear ‚ one day I will conquer that fear and own horses of my own. One of my dreams."

While some listeners may be surprised to hear an African-American singing country (tell that to Ray Charles, Al Green, and Charley Pride!), Miko Marks feels no constraints on her musical creativity: "I am a singer-songwriter who loves country music and loves to tell stories. I am doing what I love and feels right!" For her, country is a musical home base, not a prison. The pop and R & B accents of "Excited," "Feeling the Rain," and "Don't Come Crying to Me," testify to the fact that musical honesty is more important to her than industry labels. Indeed, "I Believe in You," with Billy Davis' shimmering backup vocals, could be mistaken for a Whitney Houston or Celine Dion single, if not for Miko's own distinctive voice.

The truth is that Miko Marks' way is free and unbound, and a meeting with country giant Charley Pride confirmed her confidence in herself and in her future: "He gave me the 'thumbs up' and advice that I will cherish throughout this journey." As her "Find My Way Home declares, "I'm going to keep moving on/Find the place where I belong/I'm going to find my way home." If you ask about her plans, she says, "All I can say is that I know I am on the right path. Who knows what's next, but I'm having the best time right now!" Freeway Bound provides plenty of reason to go along for the ride.

Provided by the MusicDish Network. Copyright © MusicDish LLC 2006 - Republished with Permission

Buying Your First Electric Guitar
By WorkshopLive,

My friend Ray used to work in one of New York's great guitar stores. He said that for most of the people he sold guitars to, if the color was right, the guitar sounded fine. (He also said that, with all of the gorgeous guitars that hung on the wall in that store, they made most of their money on picks and strings. Who knew?)

Anyway, it's probably a good idea to think a little more deeply than that when you're buying your first electric guitar. Here are a handful of things to consider before you venture into We $ell Guitar$. There are also one or two things you should write on the palm of your hand in magic marker to make sure you don't forget them while you shop.

1. Comfort. If you're not comfortable with your guitar, you won't play it, and it won't matter whether it sounds good or stays in tune. It should feel good in your hands. You should feel cool sitting behind it. The neck and action should be adjustable (ask the salesman.) If you're a small person, or have small hands, get a small guitar with a skinny neck. Try it with a strap to see how heavy it is when you sling it around your neck.

2. Sound. Don't sweat it. If this is your first guitar, your idea of what sounds good in a guitar will probably change a lot as you learn to play. Also, your ability to extract different sounds from the instrument will improve as you learn. For now, if it sounds good, it is good.

3. Money. Aha! The big question! How much should I spend? Think about this: for $369, a company called Carvin will sell you all the parts you need to make an electric guitar (except paint). These are good, solid parts - not top of the line, but certainly not junk either. So: if your price is below that - lower than the cost of the unassembled parts - what are your chances of getting a good guitar? Yes, there are guitars available for less than $369, and they may be playable. But in the long run they probably will never be more than OK. If you're thinking, "I'll get something real cheap in case I lose interest," maybe you're better off waiting six months to see if you still want one then. Gives you time to bone up on your positive thinking, too. (This is a good time to remind you that whatever you spend on the guitar, you're also going to need an amp, a case, a strap, a cable - at least. Probably a tuner and a metronome, too. They all cost money. So, wh! atever your budget is, you may have to bump it up if you've forgotten them.)

And, while the budget is the budget and you shouldn't bust it, you shouldn't look at this just as a financial transaction. The pleasure, growth and satisfaction you will get from playing guitar are what you're buying, not the instrument, and that stuff is the real deal and completely beyond price.

4. Bells and whistles. Guitar players like knobs, dials and switches as much as crows like bright shiny objects. Don't bother. Effects and stomp boxes get better and cheaper every six weeks, so wait until you know what you want. We $ell Guitar$ will never, ever run out of stomp boxes.

5. New vs. used? Whatever you think about new vs. used cars, the same thing applies to new vs. used guitars. New is more expensive, new has a warranty, new hasn't been tortured by somebody else. Used may be cheaper, or you may get more guitar for the same money. Some guitars are only available used. Do you trust the person you're buying from? That's what matters.

6. On-line vs. in-store? There are arguments both ways. On-line is probably cheaper (don't forget shipping) and offers greater selection; in-store lets you hold it in your hands before you buy it, and take it home the same day. And while it's nice to have a personal relationship with someone at the store, bear in mind these guys move around a lot. Your buddy at We $ell Guitar$ today may be working 50 miles away at Axe$ R U$ tomorrow.

Just don't spend hours trying every guitar in the guitar store and then go and order one on-line. And don't bring the internet price into the guitar store and expect them to match it, plus set the guitar up for you, plus show you how it works, plus help you pick an amp, plus throw in some free picks - there are reasons why guitars are cheaper on-line.

7. Quality. Low end guitars are mostly made in places like Mexico, China, Malaysia and India - just like cars, sneakers, watches and computers. The quality at the low end has improved dramatically in recent years, so as long as you buy from a guitar store (or site), you have a good chance of getting something that's playable. If you buy your guitar at the same place you buy your paper towels, though, all bets are off.

Some tips for in-store shopping:

1. Skip school. The more people in the guitar store, the louder and more annoying it will be, as lots of bad-to-mediocre players try out guitars at volumes they can't get away with at home. The salesmen will be busier, too. Go at 11:00 AM. Tell the teacher the guys at WorkshopLive said it was OK.

2. Louder sounds better. When it comes to musical sounds, people often mistake volume for quality. In other words, if you play two guitars side by side, you're likely to prefer the louder one just because it's louder. Fiddle with the knobs until they're at the same level; then decide.

3. Amps. Amplifiers contribute as much to your sound as guitars. If you're buying both, you're really shopping for two instruments at the same time. Pick the guitar first.

If you're just buying the guitar, try all your candidates through the same amp, and make sure it's in the same price / power range as the amp you have (or the one you're planning to buy eventually.) Every guitar sounds goods through a 100 Watt Marshall amp that goes for $3,000. When you get home and plug your new guitar into the 5 Watt Pignose you got for $75, it's going to sound a bit different. If you're going to play through the Pignose, test through the Pignose.

4. Setup. Ask the store to set up the guitar before they sell it to you; that means new strings, setting the action at the right height, making sure the neck is straight, making sure the pickups are at the right height, and making any other necessary adjustments. None of this will have been done when they hang the guitar on the wall to sell it. You'll be amazed at the difference it can make. They may charge you for it, but it's worth it. Don't take the guitar home without it.

The Wrap-up
1. Be comfy.
2. Don't get carried away.
3. Relax. Pick a cool one, take a chance, and enjoy it. You'll have years of pleasure.

Buying your first electric guitar - you never forget your first love.

Provided by the MusicDish Network. Copyright © MusicDish LLC 2006 - Republished with Permission

Is MySpace Stealing Your Music?
by Moses Avalon,

MusicDish Network Sponsor
MySpace has become the defacto way to promote independent music on a budget. There are thousands of music pages on MySpace and according to recent accounts, A&R people are now using it as a significant resource to discover new acts. Case in point: UK band Arctic Monkeys, were "discovered" through MySpace even though they claimed publicly that their MySpace page was unauthorized, set up by fans and that they were not even aware of their own page's existence.

According to Wikipedia "MySpace has gradually gained more popularity than similar sites such as Facebook, Bebo, Friendster, Xanga, MyYearbook, FriendsReunited.co.uk, Classmates.com and LiveJournal to achieve 80 percent of visits to online social networking websites."

But I've received several panicked emails wondering if this rumor about giving up rights to music in exchange for use of the service is true. In my gut I knew it could not be, but I never settled for just my gut when writing these missives, I get back up. I asked my list of industry lawyers what they thought. Any guesses as to the answer?


The first issue to address is the click-to-agree "user agreement." Can you actually transfer a copyright in this way without any exchange of money? The simple answer, according to my attorney-affiliates is, theoretically yes, but in reality, probably not.

By law, a copyright, like most real estate, can only be assigned in writing. While recent cases have shown that clicking an on-line agreement is the legal equivalent to "getting it in writing," this is not absolute. Also, there is another aspect to the assignment of copyrightsaif there is a dispute over two parties claiming rights to an assigned copyright, the one who offered "reasonable consideration" generally wins over the one who just had it on a "hand shake."

So, for example, if you had music on MySpace and you wanted to grant rights to that same music to a major label and MySpace then came out of the woodwork to assert ownership over the content, could they get away with it? To do so, they would have to make the argument that the service they offer is "reasonable and valuable consideration" and that you fully understood that when you innocently (and without the advice of a lawyer) clicked "yes" to the user agreement, you KNEW that were assigning them your music in exchange for their "service." [Section 205 d of the Copyright Act.]

Seems like a stretch. Unfortunately, because, "dumb musician" is not a real legal defense the, "I didn't know," excuse is a serious gamble that will hinge on how good your lawyers are, and/or how sympathetic is your judge.

My personal take is that even the late Johnnie Cochran would have to argue his ass off to get a Federal judge to coldly agree that giving up valuable (or even valueless) copyrights is a fair exchange for a free web page. (If it doesn't fit you must remit.) But some of my legal watchdogs warn that I should not give readers the impression that money NEEDS to change hands in order for you to ACCIDENTALLY click away a copyright. However absurd it might seem, you can assign a valuable song without ANY exchange of cash, even though it happens very rarely.

Bottom line: read the fine print BEFORE you click "yes" to the user agreement.


The good news is that there is great misunderstanding about what the MySpace language user agreement says. Here's the clause:

"You hereby grant to MySpace.com a non-exclusive, fully-paid and royalty-free, worldwide license (with the right to sublicense through unlimited levels of sublicenses) to use, copy, modify, adapt, translate, publicly perform, publicly display, store, reproduce, transmit, and distribute such Content on and through the Services."

Nothing in there implies a permanent assignment of EXCLUSIVE rights. Therefore if a major label wants to pay you for the recordings posted on MySpace you can still take their money in good faith. (Such is NOT the case with certain digital distributors who take exclusive rights just for the privilege of delivering your songs to iTunes.)

Conversely, the language in the MySpace agreement is very similar to what one might find in a standard release for MTV, who keeps a catalog of unsigned music that they use for filler and background in promos. It's great exposures for an unknown act; the artist gets no money for this license and MTV gets to exploit the music in any way imaginable, BUT THEY DON'T OWN IT. So if you're upset about the MySpace situation ask yourself this: if MTV wanted to use your music in a National add campaign for little to no money, would you say, "yes?" If you would, then you have nothing to fear with MySpace.


A third and final thing to think about is that even if MySpace could legally claim they owned your music just for posting it on their site, would they do it? While no one knows the mind of another, I think I can say with reasonable certainly that they would not. The ill will it would create would utterly destroy the $100 Million dollar value of the overnight sensation.

MySpace was recently bought my Rupert Murdock. Rupert is a pretty smart guy. While his taste or style is something that you are free to criticize, this does not change the fact that like most Billionaires, Rupert likes a nice profit and probably does not feel like throwing $100 Million out the window. Because, $100 Million here and $100 Million there-- pretty soon we're talking about real money. Even one lawsuit about this matter would spread like a massive virus. The tastemakers would abandon MySpace and all that would be left would be the families posting photos of their kids and the child molesters who want you to be their "friend."

END NOTE: MySpace responded to the controversy eliminating all doubt about assignment of copyrights. They amended the user agreement with, "MySpace.com does not claim any ownership rights in the text, files, images, photos, video, sounds, musical works, works of authorship, or any other materials (collectively, 'Content') that you post to the MySpace Services. After posting your Content to the MySpace Services, you continue to retain all ownership rights in such Content, and you continue to have the right to use your Content in any way you choose."

Nuf said. Post away!!!

Provided by the MusicDish Network. Copyright © MusicDish LLC 2006 - Republished with Permission

October 24, 2006 Edition

* Kobo Town Claim Their Independence
* MusicDish Network's Miko Marks Nominated "Best New Country Artist 2006"
* Classic Rock Band Bluebeard Taps MusicDish Network For Development Campaign
* Prohibition Entertainment Releases New Traedonya Single Via Airplay Direct
* WorkshopLive Supports Music Education With Gift Of Free Annual Music Lessons
* Kirsten DeHaan - Industry Showcase R And R Oct. 26
* Nominations Now Open For Independent Music Awards: The Indies

Kobo Town Claim Their Independence

Toronto-based calypso act Kobo Town will officially release their debut album Independence to North American retail and online outlets on November 14, 2006.

Drawing heavily upon the sounds of traditional calypso, roots reggae and dub poetry, the album is a collection of stories which offer a running commentary on a wide variety of social and political themes including domestic violence, homelessness, globalization, the war on Iraq, and the various frustrations and betrayals of the post-colonial era.

Named after an historic community in Port-of-Spain, Trinidad, where calypso was born, Kobo Town strives to recover the social conscience, satirical storytelling and strong acoustic/organic rhythms that characterized Trinidadian music in the past. But while the group's singer-songwriter Drew Gonsalves expresses a wish to "celebrate the musical and artistic traditions formed over the long years of our turbulent history", the tales that fill the album could be told anywhere.

The title of this album is intended to be hopeful and ironic at the same time: some of the songs offer a critical look at the "independence experiment" and its various failures and betrayals in Trinidad and elsewhere, while others aim to celebrate the musical and artistic traditions formed over the long years of our turbulent history. One track Abatina tells the tragic story of a girl trapped in an abusive marriage by her family's class aspirations, while another, St. James, uses a flood of rhymes and images to evoke both the desperation and celebratory spirit of a struggling neighbourhood in Port-of-Spain. And underlying the songs are bottle and spoon rhythms, syncopated flute and violin melodies, strumming cuatros, and heavy reggae bass lines which indicate a marriage between West Indian musics old and new ‚ a dialogue between a fading folkloric tradition and the sounds that prevail in our time.

Independence was co-produced by Lyndon Livingstone (David Rudder, Andre Tanker, Mighty Scrunter) and Drew Gonsalves at the Razorshop in Maraval, Trinidad. Independence will be available for download through CD Baby, iTunes, Music Discovery Network, Calabash Music and select online retailers. For more information or to hear advance tracks from the album, please visit, www.kobotown.com.


MusicDish Network's Miko Marks Nominated "Best New Country Artist 2006" By New Music Weekly Magazine

New Music Weekly magazine has nomimated MusicDish Network country singer Miko Marks "Best New Country Artist 2006" for the 2006 New Music Weekly Awards being held on November 18th in Hollywood. Miko recently released the third single and first music video "Mama" (featuring Grammy winning Erykah Badu in the title role) from her full-length album "Freeway Bound" Miko Marks - Freeway Bound.

(i) Log onto http://www.newmusicweekly.com/nmwawards.php
(ii) Click "Vote Now"
(iii) Scroll down and cast your vote for Miko Marks as 2006 Best New Country Artist!

The announcement comes on the heels of a banner year for this country newcomer. Since signing with indie label Mirrome Records during CMA MusicFest, the singer/songwriter has opened for Warner Records artist, Ray Scott, and toured the states from California to Washington D.C. with the Bill Pickett Invitational Rodeo, America's only touring black rodeo, now in its 22nd year. The album "Freeway Bound", recorded in Nashville with legendary producer, Ron Cornelius, has enjoyed airplay in 14 countries including the US, while the title track was used in Episode #102 of CMT's "Home Blitz with Habitat for Humanity."

Recognized worldwide as "New Music's Night," the New Music Awards represent the pinnacle of achievement for ALL Music artists, musicians, radio programmers, music directors, radio stations, and industry executives who work in America's most popular music genre. "The New Music Awards" features a wide variety of exceptional talent and is sure to provide outstanding entertainment and excitement throughout the show.


Classic Rock Band Bluebeard Taps MusicDish Network For Development Campaign

MusicDish, an Internet music magazine publisher and artist marketing/development firm, announced the addition of Los Angeles cult rock band Bluebeard to its MusicDish Network roster. Through its online marketing and brand development campaign, the MusicDish Network will promote Bluebeard's first album of new material in over 25 years, "Deluxe With Reverb" Bluebeard - Deluxe With Reverb.

MusicDish Network will conduct an intensive campaign in support of the band's new album, combining content development, syndication/street team, social networking and distribution. Bluebeard has already begun to make their presence felt on social networking sites such as MySpace, Number One Music iSound and LiveDigital (to name a few), while conducting a viral distribution campaign of the band's music and videos on major file sharing networks such as eDonkey.

Produced and published by new independent music label Shelter From the Storm Records, "Deluxe With Reverb" features a selection of new material, re-recorded and re-mastered songs from the band's late-70s heyday, and a hard-charging cover version of INXS' "Pretty Vegas."

"Check out their latest timeless classic. It is a great listen. You can hear in their material how they have inspired so many over the years. And the new material sounds just as new as it does 'classic'." - John Haseltine, Ball Buster

Bluebeard has been around for nearly 30 years and was a mainstay of the Southern California club scene in the 70s and 80s, playing dates with everyone from Van Halen to The Motels to Steppenwolf. They recently played a sold out appearance at L.A.'s Canyon Club, sharing a bill with Blue Oyster Cult. Their last full-length album, "Bad Dream," was released in 1978 and is a treasured collector's item among rock connoisseurs, with asking prices up to $500 per copy on on-line auction sites. Bluebeard received widespread critical acclaim in the U.S. (from the likes of Billboard Magazine, Cash Box, BAM and Radio Report), and was an underground favorite in Japan and Europe.

The tragic death in 2004 of Robert Barry Leech, the band's original lead singer and creative force, led the remaining members to reunite in honor of his memory with a singular focus to once and for all bring their brand of rock & roll to the world. "Deluxe With Reverb" includes a tribute to the past via a rockin' duet of The Rolling Stone's classic "Paint It Black," between Leech and new frontman Ellington Erin .


Prohibition Entertainment Releases New Traedonya Single Via Airplay Direct

Prohibition Entertainment a NYC based boutique independent record label and AirPlay Direct have formed a marketing alliance in regards to R&B /crossover vocalist TRAEDONYA. Her single "BELOVED" will be delivered to radio stations worldwide via www.AirPlayDirect.com This will allow Prohibition to save a substantial amount of money by not having to send out hard copy promotional packages to radio stations.

"Radio servicing (just packages, not promotion) is a punitive cost to most independent labels and artists. Servicing can run into thousands of dollars and you have returns which will also increase costs" says A.K Smith-Ford , Founder of Prohibition. AirPlay Direct's FREE services will allow us to put the money saved into other key areas... marketing and promotion.

"TRAEDONYA is a Featured Artist on AirPlay Direct and radio programmers and music industry executives are able to check out TRAEDONYA at www.airplaydirect.com/music/bands/3117/

"AirPlay Direct's approach will continue the revolution and evolution of the music industry in the digital arena. Radio is an 'achilles heel' to most independent labels and artists because we can't compete for 'Clear Channel' against the big 4 labels. AirPlay Direct has helped to level the playing field." said A.K.


WorkshopLive Supports Music Education With Gift Of Free Annual Music Lessons For Music Resource Center Members

The Music Resource Center, a multi-faceted music education center for teenagers, announced a donation of online music lessons and guitar supplies from WorkshopLive, which produces the most dynamic and engaging music instruction content on the Web. Located in Charlottesville, Virginia and originally funded by the Dave Matthews Band, MRC will receive a combination of annual subscriptions and introductory "Play Free" cards and other teaching materials from WorkshopLive.

The Music Resource Center, a multi-faceted music education center for teenagers, announced a donation of online music lessons and guitar supplies from WorkshopLive, which produces the most dynamic and engaging music instruction content on the Web. Located in Charlottesville, Virginia and originally funded by the Dave Matthews Band, MRC will receive a combination of annual subscriptions and introductory "Play Free" cards and other teaching materials from WorkshopLive.

The Music Resource Center uses the recording and performing arts to create a sense of empowerment and accomplishment in the urban community. Its mission is to educate and inspire urban youth and through music equip them with life skills for the future. They accomplish this mission through music education and performance opportunities, as well as life skills mentoring.

WorkshopLive is a unique educational platform that delivers personalized and completely individualized music lessons through a broadband Internet connection. Its patent-pending technology determines how each student learns best, then delivers the teaching options, lessons and learning environment that best suits the student's needs.

More than one thousand guitar, bass and keyboard lessons will be available to MRC players and teachers of the revolutionary Internet learning system, any time, day or night, whenever and wherever they can make a high-speed Internet connection. WorkshopLive is also making available its library of publications from the National Guitar Workshops, an affiliate of the online learning company.

"American culture and society is experiencing one of the worst times for arts education in the past 30 years," said Sibley Johns, Executive Director. "Throughout history, the benefit of these programs to individuals and communities is indisputable. While the situation cannot be reversed overnight, this important donation from WorkshopLive is a giant step in the right direction. It's a perfect combination of music lessons and technology, both of which appeal to students at every level. The first music lesson is the first step on a wonderful journey."

Besides individual subscribers, local music teachers will be able to utilize the WorkshopLive services for group lessons that serve all levels of playing from beginner to advanced guitar lessons.

"From a state of the art facility to cutting edge music education programs, the Music Resource Center is poised for a period of tremendous growth internally as well as externally," said John Ross, Director of Marketing for WorkshopLive. "Music enriches our lives, and MRC represents an example of hope. It is a privilege to be associated with this great organization, and help them achieve their goals of bringing about both individual and social transformation."

"The demand for these community music education programs like the Music Resource Center in Charlottesville are flourishing throughout the nation," Ross added. "The MRC works with more than 700 players annually, which more than demonstrates the demand for music lessons in a single local community. WorkshopLive wants to support as many programs as we can to be a significant part of bringing more guitar, bass or keyboard players back to music."

Staff members and volunteers from the Charlottesville music community provide lessons to MRC members in a variety of subjects including guitar, bass, keyboard, voice, and music theory, which are all part of WorkshopLive's current or intended curriculum offerings. All MRC lessons are free, and scheduling may vary depending on instructor availability. With WorkshopLive, the scheduling limitation is eliminated.


Kirsten DeHaan - Industry Showcase R And R Oct. 26

Out And About In NYC: Kirsten DeHaan is a nineties-style punk-pop dynamo. Her new 3-song EP is drawing comparisons to Belly and U2, which is fair enough, but her live set is rawer and more punked out. This dualism may simply be in the nature of the pretty, driven, biker-haired Indianan-turned-New Yorker, or it may be smartly planned - or both. In any case, it makes her recorded music potentially radio-friendly in more than one circuit - grown up Gen-Xers, college rock, maybe even the Avril LaTween set. A combination of talent, personal intensity and looks might soon turn Kirsten DeHaan into a major indie player...

Kirsten DeHaan - Industry Showcase
R and R
Thurs. Oct. 26 9pm
416 W 14th Street
9th ave and Washington


Nominations Now Open For Independent Music Awards: The Indies

Canadian Music Week is calling all independent recording artists to apply for The Indies - the 2007 Independent Music Awards. The event will kick off the CMW 07 festivities held in Toronto on Wednesday, March 7, 2007. Applications are due on November 15, 2006.

This year's submissions will be taken exclusively through Sonicbids at www.sonicbids.com/indies2007. Submission rules and regulations can be obtained from the CMW Web site at www.cmw.net.

Presented by inDiscover.net, The Indies celebrate outstanding achievement in sound recording. The awards are limited to independent artists and cover some 14 different genres of music. Winners in 27 of the 30 categories are decided by both a public vote and an industry vote. Four new categories have been added for 2007, including Live Artist/Group/Duo Of The Year, International Single Of The Year, International Breakthrough Artist/Group/Duo Of The Year, and International Video Of The Year.

The Indies celebrate the best in Canadian and International independent music. Last year's sold-out event was hosted by Jian Ghomeshi and featured performances by Stars, Elliott Brood, Figurines, The Road Hammers, Rosette, Cursed, The Parachute Club, and The Pursuit Of Happiness. Past years' winners include The Arcade Fire, Bedouin Soundclash, City and Colour, The Trews, Bloc Party, Franz Ferdinand, Interpol, Alexisonfire, Kataklysm, Death From Above 1979, Hot Hot Heat, Default, The Weakerthans, Fidgital and Dashboard Confessional.


Provided by the MusicDish Network. Copyright © MusicDish LLC 2006 - Republished with Permission

October 11, 2006 Edition

* Debbie Hennessey Receives ASCAPlus Award; Added To MS Music Fest
* British RnB Star-In-The-Making 'Yomi' Unleashes His Superb Debut Album!
* Chicago Country Artist Competes For Fame & Fortune
* Independence In Heavy Rotation At CIUT-FM In September
* Organic Entertainment Empowers Creative Independents
* Prohibition Entertainment Releases New Traedonya Single Via Airplay Direct
* Kicksta Music Group Release Nova Scotia Hip-Hop And R&B Sound
* Jodi Jett To Perform At Listen Liberally Showcase In NYC On October 17th

Debbie Hennessey Receives ASCAPlus Award; Added To MS Music Fest

Debbie Hennessey's new CD Good As Gone continues to receive impressive recognition. Hennessey was just honored by ASCAP with her first ASCAPlus Award for songwriting and live performances. This award is given annually to promising songwriters.

In addition, the song Love Might Change Your Mind, which Hennessey co-wrote with Sunny Hilden and John DePatie, will be included on the Multiple Sclerosis Music Fest 2006 CD‚Singer/Songwriter & Country Rock/Acoustic edition. The MS Music Fest is the brainchild of rocker Jeff Cerzosie whose father has Multiple Sclerosis. Cerzosie and his Crooked Halo Productions, along with their primary sponsor The Montel Williams MS Foundation, will once again be putting on a series of concerts and producing three different compilation CDs covering several styles of music, all to benefit MS charities. For more information visit www.myspace.com/msmusicfest.

Good As Gone is the follow-up to Hennessey's award winning first CD Rustic Heart. So far Hennessey's new CD has received honors from ASCAP, Billboard, The Women's Image Network and SingersUniverse. Good As Gone includes songs written by Hennessey/Hilden/DePatie, Mark Luna, Richard Wold, Matraca Berg, Kim Richey, Terry Burns and others and features Hennessey's distinctive and emotional vocals.

Reviewers have taken notice as well saying:
"Hennessey's bold, husky delivery puts its imprint on her material, whose catchy hooks and spot-on arrangements show she knows her stuff and is surrounded by pro-caliber talent. Hennessey is a skilled artist whose polished work commands respect." - Music Connection

"Good As Gone is rock solid country-pop...undeniably hooky...(Hennessey's) collection of Nashville-ready tunes serves as a wake-up call to radio programmers everywhere." - Buddy Hollywood

"Good as Gone" is another outstanding release. Once again (Hennessey) brings us great, soulful country/pop music that puts a smile on our face and make our ears go "ahhhh". - GoGirlsMusic


British RnB Star-In-The-Making 'Yomi' Unleashes His Superb Debut Album!

Currently burning a hole in Bristol (UK) dancefloors, top new RnB vocal talent YOMI is intent on setting fires across the world with the release of his debut longplayer 'Get To Know Me' on November 13th.

Effortlessly blending street level sounds with more mainstream flavours, 'Get To Know Me' is an authentically British RnB joint, but one which pays its dues to the Stateside mother lode. From the fiery club bootyshaker 'Fantasy' - which will be the first single off the album - through the slow-jam 'Girlfriend Boyfriend' (featuring Marley-Dee), to the sly cover of the Fine Young Cannibals' pop-soul classic 'She Drives Me Crazy', the album brings together all manner of influences, from hip hop and reggaeton to two-step and soul. The one constant is Yomi's distinctive voice.

London-born Yomi came to music early in life, MCing with reggae sound system Genius when he was just 11 years old. At age 13 he had moved on to singing, and began developing the silky smooth, soulful voice which drips all over 'Get To Know Me' like honey. By 15 he was a veteran of studio work, garnering experience as a session singer whilst also writing his own material, and by 20 he was performing live at venues in London, to the approval of both critics and audiences.

It was at this point that Yomi relocated to Bristol in South West England ‚ a place famous for being home to top talent like Roni Size, Massive Attack and Portishead ‚ to team up with BlackStory Records and producer Mixmaster M. Together they honed Yomi's talent, writing and producing original material whilst live gigs supporting acts such as Dru Hill and So Solid helped to sharpen Yomi's performance axe.

Now at 24 he is ready to step up to the plate with his solo album: a body of work which reflects his maturity and underlines the lessons he has learned in life ‚ including lessons from his own troubled youth. For Yomi ‚ who cites the likes of Craig David, Bob Marley, LL Cool J, Lionel Ritchie, Ms Dynamite and Sanchez as amongst his diverse influences ‚ music has helped draw him away from a darker path, and now he wants to share his gift with as many people as possible. It's time to GET TO KNOW YOMI.


Chicago Country Artist Competes For Fame & Fortune

After a tough round of competition, Cary's J Juliano with Des Plaines' Adrienne Grove walked away from the 25th Annual Colgate Country Showdown Illinois State Final with the state title and $1,000 in prize money. The Arcada Theater in St. Charles showcased eleven acts ‚ who had won a local contest sponsored by radio stations throughout Illinois ‚ enabling each to perform at the state level competition of America's largest country music talent search.

WUSN of Chicago, Illinois sponsored the local competition where J Juliano with Adrienne Grove won prior to Sunday's state level triumph. As an award-winning songwriter/vocalist/multi-instrumentalist, Juliano began guitar at just 5 years old. In 1998 he opened for Toby Keith in Chicago and realized his love of the Windy City. He began performing throughout the Southeast and Midwest, sharing the stage with Brad Paisley, Keith Urban, Toby Keith, Diamond Rio and Sawyer Brown, to name a few. When Juliano and his wife learned they were expecting their first child, he began "Little Nashville" ‚ country music for kids that teaches important lessons and values with a bit of rock at the same time.

"Little Nashville" went from the studio to the road, bringing Adrienne Grove into the mix. The singer/actress began belting out The Star-Spangled Banner also at a young age ‚ 3. The Southwestern University graduate received a Bachelor's Degree in Music Education, and plays the guitar, flute and piano. She has performed with Starlight Theater, Park Ridge Gilbert and Sullivan Society, Savoy-aires and several others. Since joining forces in "Little Nashville," Grove and Juliano have performed in front of thousands together. They have opened for Josh Gracin and have been honored with the title of Best Children's Act of 2006 by the On the Waterfront Festival in Rockford. In Sunday's competition, they rocked the crowd with Charlie Daniels' The Devil Went Down to Georgia and an original piece ‚ Dry County.

J Juliano with Adrienne Grove will compete in the Midwest Regional at the Royal River Casino in Flandreau, South Dakota on October 28th to determine if they will advance to the National Final. The five regional winners from across the country will receive an all expense-paid trip to the National Final to compete for $100,000 and the coveted national title of Best New Act in Country Music. The National Final will be televised nationally in March and April 2007.


Independence In Heavy Rotation At CIUT-FM In September

Toronto-based calypso act Kobo Town's debut album Independence continues to garner heavy rotation at CIUT-FM in their hometown. It has been charting in their Top Ten for over a month. Independence will be released to North American retail and online outlets on November 14, 2006.

Kobo Town has thus far made the following radio appearances:
* Metro Morning (CBC 99.1)
* Big City, Small World (CBC 99.1)
* Liming in de African Diaspora (CKLN 88.1)
* Island Breeze, Global Rhythms (CIUT 89.5)
* Caribbean Connection (CHIN 100.7)
* Smooth Jazzy Grooves (CHRY 105.5)

Drawing heavily upon the sounds of traditional calypso, roots reggae and dub poetry, the album is a collection of stories which offer a running commentary on a wide variety of social and political themes including domestic violence, homelessness, globalization, the war on Iraq, and the various frustrations and betrayals of the post-colonial era.

Named after an historic community in Port-of-Spain, Trinidad, where calypso was born, Kobo Town strives to recover the social conscience, satirical storytelling and strong acoustic/organic rhythms that characterized Trinidadian music in the past. But while the group's singer-songwriter Drew Gonsalves expresses a wish to "celebrate the musical and artistic traditions formed over the long years of our turbulent history", the tales that fill the album could be told anywhere.


Organic Entertainment Empowers Creative Independents

Manhattan-based indie promotions and PR firm, Organic Entertainment began in 2005 after Margo Drgos partnered with friend and colleague Paul Anthony. Both spent several years developing and launching corporate communications programs for start-ups and established brands within the music, media, online retail and technologies industries. It was their passion for music, particularly within the independent scene, that had them acknowledge an emerging market not yet met in a morphing and shifting music industry.

"It's no secret that the majors are losing their market share rapidly, and while they will still be the major players that they are, there's another group of small to mid-size companies emerging that are vying for the same customers," comments President and Founder, Margo Drgos. "Some of them are started by laid-off major label execs and some by dropped major label artists, sometimes even a pairing of the two. Then there are hosts of great new DIY talent emerging, all of which can now effectively compete in the same marketplace."

Organic Entertainment empowers such clients to define and effectively communicate their brand messages through creative, homegrown and consistently authentic means. The company reaches mainstream and non-conventional media via public relations and radio campaigns, along with Internet marketing and branding strategies. The company offers these services exclusively within the global independent music community.

"A lot of small and mid-size labels lack an experienced in-house promotions staff," continues Ms. Drgos. "We are that staff! We design campaigns specific to the needs and budgets of small and start-up companies."

Some of Organic's clients include Chicago-based Delphine Records, NYC-based alt-country crooner Jodi Jett, indie wunderkids, The Majestic Twelve and Toronto-based roots-calypso outfit Kobo Town, who will be releasing their debut album, Independence in November off of the MusicDish label.

"It's also no secret that the online culture phenomenon and everything that it entails, be it retail and digital downloading or social network sites like Myspace, have allowed artists to gain more independence and leverage than ever before," she continues. "New business models are emerging, most of which are not based on retail sales. Recent sales from The Majestic Twelve's sophomore album, Schizophrenology give confirmation to this notion."


Prohibition Entertainment Releases New Traedonya Single Via Airplay Direct

Prohibition Entertainment a NYC based boutique independent record label and AirPlay Direct have formed a marketing alliance in regards to R&B /crossover vocalist TRAEDONYA. Her single "BELOVED" will be delivered to radio stations worldwide via www.AirPlayDirect.com. This will allow Prohibition to save a substantial amount of money by not having to send out hard copy promotional packages to radio stations.

"Radio servicing (just packages, not promotion) is a punitive cost to most independent labels and artists. Servicing can run into thousands of dollars and you have returns which will also increase costs" says A.K Smith-Ford, Founder of Prohibition. AirPlay Direct's FREE services will allow us to put the money saved into other key areas... marketing and promotion.

"TRAEDONYA is a Featured Artist on AirPlay Direct and radio programmers and music industry executives are able to check out TRAEDONYA at www.airplaydirect.com/music/bands/3117/

"AirPlay Direct's approach will continue the revolution and evolution of the music industry in the digital arena. Radio is an 'achilles heel' to most independent labels and artists because we can't compete for 'Clear Channel' against the big 4 labels. AirPlay Direct has helped to level the playing field." said A.K.


Kicksta Music Group Release Nova Scotia Hip-Hop And R&B Sound On Compilation Album And Single

The Hip-Hop and R&B talent of east coast Canada finally gets the recognition it deserves with "Scotia Mix Vol. 1", the new compilation album from the Kicksta Music Group.

Featuring the best artists from Nova Scotia - and a guest contribution from Louisiana's Big Brotha ‚ the project aims to give an outlet for these as-of-yet under exposed artists.

A unique combination, "Scotia Mix Vol. 1" combines artists new to the game with more seasoned professionals, connected by their love of music. One such seasoned maestro is singer/songwriter/producer Jamie Sparks, who began his professional career in 1990 and whose track "Gonna Get Down" is the first single from the album.

A video has also been filmed, featuring the track "ScoTown Stomp" by Papa Grand. The video was filmed in Halifax and produced by Triton Films from Vancouver.


Jodi Jett To Perform At Listen Liberally Showcase In NYC On October 17th

NYC- based alt country rocker Jodi Jett will perform at the October Listen Liberally showcase hosted by Organic Entertainment and MusicDish Network. Supported by the NYC chapter of Drinking Liberally, the event will take place at Club Midway (formerly Scenic, 25 Ave. B, NYC) on October 17th at 7 PM. Kristin DeHaan will share the stage. The event is free and open to the public. For more information and to RSVP for the event, please visit: http://www.musicdish.net/listeningliberally.

Jodi Jett makes the kind of rock music that kicks about with desperation in its blood. It's the sort of thing a blues man double her age and experience might reach. That's the very reason five-time Grammy-winning Engineer/Producer Elliot Scheiner (Beck, Fleetwood Mac, Flaming Lips) was blown away when he heard her music and declared her the "female Lou Reed." Jett recently concluded a small tour of the Midwest in support of her debut album, Revelations. The tour capped off with a performance at the Midpoint Music Festival in Cincinnati, OH.

Revelations was co-produced by Jodi and Phil Palazzolo (New Pornographers, Gordon Gano of Violent Femmes, Radio4). Revelations is available for purchase online and in select retail stores. For more information please visit http://www.jodijett.com or visit Jodi on Myspace at http://www.myspace.com/jodijett.


Provided by the MusicDish Network. Copyright © MusicDish LLC 2006 - Republished with Permission


Help improve this page :: ideas - comments - corrections - click here:: http://musicgroups.com/devforum/



Free music pages for
Independent bands!
Sign Up for Indie Corner
Indie Corner Login
Forget Password?
Need Help?

Free music cooperative. Join the Musicgroups Network today

What are you Yearning For? Find anything and help build a Music Cooperative!
Free radio promotion for indie bands, part of the Musicgroups Network
Free Indie Band Promoational Services.
Indie Music Corner