Maximum Music

School Of Rock

2011-12-17T13:57:00.000-08:00

IN the words of classic rockers AC/DC, it's a long way to the top if you want to rock'n'roll.

But now, a North Shore partnership between a top promotion company and a premier music technology school is helping artists make that journey a little shorter, regardless of genre.

A little more than a year ago, Maximum Music Group's Brian Watson agreed to teach some business and marketing courses at the Harbourside Institute of Technology. Maximum can boast literally dozens of awards, and the walls of Watson's office are graced with platinum records from his work with Janet Jackson, Lenny Kravitz and Smashing Pumpkins, among others.

"I've been in the business for 15 plus years," says Watson, "and I've always been a bit wary of these music schools that advertise 'You could produce the next hit record!' What I do is not rocket science - what they do in the studio is a little different. I went down there and saw the facility. The first thing I noticed was there weren't any awards on the wall even though Tony (Rudner) is an award-winning writer and producer. There was no swag to entice people or brainwash them about the glamour of the music industry. Every student had a computer terminal and the classes weren't any bigger than 12 people."

Watson was impressed by Harbourside's focus and the opportunities students had both to develop their projects using both professional software and a fully equipped recording studio.

"I saw these students coming in and creating music and then leaving and I said 'Wait a minute, we're kind of sitting on a gold mine here. We have the facilities, you have the students who are obviously a bit more serious and I kept hearing these projects, some great stuff.'" Watson recalls.

After chatting with some clients who attended Berklee College of Music in the U.S., Watson approached Rudner about starting a student-run record label, giving students the chance to take their work all the way from idea to market.

"I said 'Look, I have the infrastructure with EMI, we have the marketing stream, you have the talent, young emerging talent. Why don't we offer them, instead of just graduating with a certificate, let them produce and market a record and release and sell it and try to make money off it?'"

The first product was Hit Records' Sessions Vol. 1, a compilation of tracks ranging from rock to R&B to Christian gospel, all recorded, mastered and marketed by Harbourside students. Volume 2 is on its way. Being able to combine the technical and business sides of the industry gives aspiring producers a launchpad that other schools simply can't offer, says Watson.

"Like I said, I was always a bit jaded about these schools. I felt they took students' money, they told them 'You could do the next Nickelback record, here's how' and they concentrated on tips and tricks without letting them implement or actually try anything. You're left with a certificate and hopefully some knowledge. But there wasn't a lot of hands-on experience and you couldn't walk away and say 'I have a portfolio now.' Students at Harbourside can say 'I am a recording artist. I have a record out with Maximum/ EMI.' Well, they probably just mention EMI, but whatever.

That really excites me. We don't just sell a bag of wishes and good luck."

Not satisfied with studio recording, Watson brought the project to the public with Harbourside Nights, a series of live performances, also recorded for release.

"Some students said they're not ready enough to be on Sessions yet, but they also want to showcase. There's recording in studio, using ProTools, but it's a whole different ball of wax when you're trying to record something live. It can be a disaster," Watson laughs.

You can check out the results - Harbourside Nights 2 - at The Eagles Club, 170 West Third Street, at 8 p.m. Dec. 17.

"We wanted to keep it on the North Shore, we wanted to keep it indie, not at a club where you have to pay seven bucks a beer.

We wanted it to be really grassroots. And the students designed the poster and all the social media stuff."

Some of the seven acts aren't products of Harbourside, but are managed by Harbourside alumni, something that is very satisfying to Watson.

"The fact that the students are off and running and we're giving them an avenue to actually do what we're been preaching to them is really exciting, and it's a lot of fun," he says. "No one else is doing this in an indie way, but backed up with all the marketing and distribution channels. They've going to perform live, it'll be recorded, mixed and mastered and released on Hit Records. So it's a full 360-degree experience."

Along the way, students take in the nitty-gritty of the music industry, from songwriting agreements to SOCAN registration to obtaining a UPC for digital release.

In the face of all the gloomy talk about the music industry, says Watson, "I work hard to establish with students that it's the record industry that's hurting, not the music industry. If you look at how people are embracing music in the Cloud way, like with Grooveshark, it's not necessarily a fair share of the pie financially, but music is still being consumed. Illegal activities are on the decline because if we can super-serve, make music flow like water, the more people can use it the way they want to use it. It's up to us to figure out how to monetize the involvement around music, not just touring and merchandise. I'm a big fan of the long tail, especially for emerging artists. Don't just offer an album, offer an EP, offer a single, offer a remix, offer your lyrics on a nice downloadable PDF. The more you offer, the more they buy."

In Watson's eyes, the Harbourside collaboration just keeps spitting out new ideas. "I envision a little mini-Motown down there," he said. "There's so much more we could do."

balldritt@nsnews.com

Harbourside Nights 2

2011-12-07T15:19:00.000-08:00

Be part of an exciting new Artist Showcase & Live Recording Series sponsored by Harbourside IT, HIT Records & Maximum Music/EMI.

Sons of Granville - A Very Cool Band Worth Watching

2011-11-25T19:40:00.001-08:00

We here at Maximum would like to introduce you to the passionate, inspiring, soulful and beautiful sounds of Sons of Granville. This Vancouver based trio is comprised of Matthew Lennox (Electric & Acoustic 12 String Guitar), Thomas Beckman (Viola) & Jarrett Plett (Drums & Percussion).

Enjoy the track and learn more at www.facebook.com/sonsofgranville

Announcing Harbourside Nights 2

2011-10-26T14:24:00.000-07:00

Congratulations! Slow Wave Saga, CFOX Band of The Month

2011-10-24T16:11:00.000-07:00

Get all the details here...

Maximum Management Announces New Emerging Artist & Business Development Services

2011-10-21T15:39:00.000-07:00

See what's possible here.
Or contact Brian.Watson@MaximumMusicGroup.com for more information.

Mikey Wax debuts #47 Billboard Charts!

2011-09-29T11:37:00.000-07:00

We’re thrilled to announce that our favourite singer-songwriter Mikey Wax and his new album Constant Motion have landed at #47 on the Billboard Heatseekers Chart! And at #2 Billboard Heatseekers Mid-Atlantic Chart!

The Billboard Heatseekers Chart represents this weeks top-selling albums by new or developing acts!

Official Site

iTunes

Mikey Wax launches brand new album Constant Motion

2011-09-22T12:18:00.000-07:00

Acclaimed singer-songwriter and one of our favourites, Mikey Wax launches brand new album Constant Motion. His second full-length release, Mikey recorded Constant Motion with Producer, Warren Huart (The Fray, Kris Allen, James Blunt) and the album has shown all the promise of being a hit by recently breaking into the iTunes Top 10, Singer-Songwriter charts.

AOL.com writes, “Breathy vocals and serene acoustic rhythms will have Mikey Wax’s latest swimming in your dreams”.

Blogcritics.org continues, "these are the kind of pop tunes which will be playing on your local radio station any day now."

Maximum Free Music Friday :: Ryan McAllister

2011-09-16T14:12:00.000-07:00

Welcome to our second offering of Maximum Free Music Fridays, Artist Showcase. As Vancity has seen its first rain in sometime, we thought we'ed run with the theme and introduce you to local singer-songwriter Ryan McAllister and feature the track This Black Heart, one of our favourites from his debut full length Music For A Rainy Town.

Ryan McAllister’s career began as the lead singer/songwriter for Dakona, McAllister runs Five Acres, a professional recording studio in a converted barn a few steps from his home in a sleepy corner of Southwest B.C.

McAllister wrote, produced, recorded and mastered Music for a Rainy Town, an honest, vulnerable and diverse record that covers the genre gamut between southern pop, story-telling folk, and straight-up rock. At times, it is reminiscent of artists like Tom Petty, Bruce Springsteen and John Mayer, but McAllister’s unique vocal stylings set it apart as something all its own.

In an age of 99 cent singles, Music for a Rainy Town is a powerful 12 song album from front to back, with each track showcasing strong, seasoned storytelling, engaging melodies and lyrics steeped in imagery.

“Amazing singer songwriter, one of Canada’s best and is no doubt still one of the country’s brightest yet to be fully discovered and appreciated talents.” Freeway Frank, Virgin Radio Montreal, Former Host of Canadian Top 20

Official Site :: www.ryanmcallister.com

Bandcamp :: www.ryanmcallistermusic.bandcamp.com

Twitter :: @ryanmcallister_

"The Standard Is High" :: The Province Reviews Sessions Vol. 1

2011-07-29T12:07:00.000-07:00

Official Site
Hit Records
iTunes

He didn't intend to, but Mike Slater has become a symbol for what Sessions Volume One hoped to accomplish.

Sessions Volume One is a 10 song compilation album issued by the Harbourside recording school, which set up a label, HIT (Harbourside Institute of Technology), to issue it. By the time it comes to make Volume Two, HIT (and Slater) will have first hand experience at writing, recording, manufacturing, distributing and promoting an album. For his part, Slater wrote the three songs that start the record with his band, the heavy Slow Wave Saga and produced them. He was so encouraged by the experience that he's set up his own production company that can be reached at mikeslatermusic.com. This is exactly what instructor Maximum Music owner Brian Watson and HIT's Tony Rudner hoped. They wanted someone not only who could make music but to understand the business well enough to survive it.

"Since I was 10 or so, I wanted to be involved in music," Slater explains. He'd heard about Harbourside through the son of his mother's ex-boyfriend and was in the middle of developing the band when his opportunity as a student to participate in the sessions presented itself. "We were right at the perfect time."

Like most compilations it varies - from reggae, to christian pop to ambient instrumentals - but the standard is high and there only are 10 tracks which suggests some control was exercised and what went on the album didn't merely fit a theme.

"It's a reflection of the person in the class," Slater acknowledges. With only four or five students in each, the transition from creation to completion was smooth. "It could be more in sync but but then it wouldn't reflect the individual interests of the class."

Watson owns the Juno winning Maximum, which has diversified from jazz to country to Celtic punk to this. He was hired as an instructor but was inspired by what he heard. An idea that became Sessions Volume One started forming. HIT came under the Maximum umbrella, which in turn is distributed by EMI.

Watson likes Harbourside's "no flash attitude."

"The sessions albums are the most commercial things the school does. " he says.

"The reason the record is here is because of this guy here," Watson continues, pointing to Slater. "Mike gave me a song, I went to Tony Rudner and said, 'This is one song; if we dig further we can do this."

By: Tom Harrison

Dustin Bentall & The Town Pants

2011-07-25T13:20:00.000-07:00

Dustin Bentall skippers our very own Town Pants through a fun, raucous set close with a go on Fishermans Blues the night of the June fundraiser. Thanks again Dustin for coming out that night and your support!

New & Improved Maximum on MySpace

2011-07-22T15:16:00.000-07:00

Visit the new and improved Maximum MySpace, featuring new tracks, new artists and album spotlights!

Sessions Vol. 1 Now On Soundcloud

2011-07-15T15:15:00.000-07:00

Sessions Vol. 1 :: Various Artists by MaximumMusicGroup

"Brash and No Hold Barred" :: San Diego Troubadour reviews The Town Pants

2011-07-12T15:42:00.000-07:00

Official Site

Shop EMI

iTunes

The sound on the disc draws from Appalachian hell-raising country folk music, but with that added taste of Celtish attitude that came to the Pogues in their prime by way of the punk movement. The sound is brash and no holds are barred, but tight...Shore Leave will find a home with any admirer of Celtish folk rock or bands like the Dubliners, Pogues, or their descendents. (Full review)

The Town Pants now on tour throughout the US!

Free Music Monday featuring Slow Wave Saga

2011-06-27T10:00:00.000-07:00

To celebrate the release of Sessions Vol. 1, Slow Wave Saga together with Hit Records is offering a free download of the single Nefarious.

&amp;amp;lt;a href="http://sessions.bandcamp.com/track/nefarious-free-download"&amp;amp;gt;Nefarious (Free Download) by Sessions Vol. 1&amp;amp;lt;/a&amp;amp;gt;

Nefarious was recorded at the Harbourside Institute of Technology studios in North Vancouver and produced by former student and honours graduate Mike Slater where he worked with heavy-weight team of Mike Rogerson (Green Day, Goo Goo Dolls, Sheryl Crowe) and Sam Ryan (Nirvana, Soundgarden).

Slow Wave Saga is a Vancouver based three-piece alternative rock/metal act featuring Erik Leonhard (vocals/guitar), Mike Slater (drums), and Mark Slater (bass). The name is a reference to REM-sleep, the stage of sleep in which we humans experience vivid dreams… and nightmares. Indeed, light and dark, dreams and nightmares, these are what characterize the dynamic sounds of Slow Wave Saga.

Sessions Vol. 1 To Be Released Tuesday, July 21

2011-06-17T13:16:00.000-07:00

Sessions Vol. 1 is a compilation of various artists, from pop, indie rock, to reggae and electronic that celebrates the writing, producing and engineering skills of graduates from the Advanced Recording Artist (ARA) program at the Harbourside Institute of Technology and showcases some of the brightest new artists on the scene today.

Sessions Vol. 1 will be available worldwide on iTunes and in stores across Canada on Tuesday, June 21, 2011.

&amp;amp;lt;a href="http://sessions.bandcamp.com/album/sessions-vol-1-various-artists"&amp;amp;gt;Sessions Vol. 1 - Various Artists by Sessions Vol. 1&amp;amp;lt;/a&amp;amp;gt;

Alan Cross of Exploremusic.com sits down for a chat with Carmen Townsend.

2011-06-17T11:31:00.000-07:00

Town Pants Fundraiser This Saturday June 18

2011-06-14T12:50:00.000-07:00

Tickets available at:
Zulu Records (1972 West 4th Avenue),
Highlife Records (1317 Commercial Drive)
RedCat Records (4332 Main Street)
Eternal Salon (142 West 3rd ave, N.Vancouver, Wed-Sat, 604-649-8540)
and of course The Forum (1163 Granville Street)
$15 Advance
$20 Door

For you out of towners who might like to be there in spirit by making a donation (not matter how big or small) here's a link. 100% of proceeds go towards replacing our equipment that was recently stolen.

"Go get this album and enjoy it" - Fanrealm.com Reviews Shore Leave by The Town Pants

2011-06-09T13:51:00.000-07:00

Official Site

Shop EMI

iTunes

Shore Leave is the latest album by the great Vancouver Celtic Rock band The Town Pants.

Shore leave is what happens when sailors put into port and got out to party. This is a party album for sure. Drinking in the Graveyard is, hands down, the best ghost story I’ve ever heard. Death Feels Like Me Today is about a place we can probably all recognize. Songs about hard drinking sailors and actors are joined by a song about their hometown called Rainville, a lovelorn ballad called Angel and a celt rock version of Iron Maiden’s Run for the Hills. Trains Not Taken is based on the short story by Joe R Lansdale.

This album takes you out of your here and now and sends you on your own shore leave. It’s a lot of fun and great music. You’ll be singing along with this one. I really liked every song on this album but the idea of drinking in a graveyard with famous authors, inventors, actors and explorers is such a delicious idea that this one has to be my favorite although Trains Not Taken is a very close second.

You’ve absolutely earned your shore leave. Go get this album and enjoy it!

Joe R Lansdale

For Immediate Release :: Hit Records & Maximum Music Present Sessions Vol. 1

2011-06-03T12:57:00.000-07:00

"One of Canada's premiere Audio Engineering and Music Production schools partners with award winning independent record label to give future producers and artists a unique one-of-a-kind opportunity"

(Read Full Press Release)

River Rat Indie Track of The Day At ExploreMusic.com

2011-06-03T11:08:00.000-07:00

Carmen Townsend: “River Rat”

1 week ago by Adam Morrison | May 25, 2011 9:00 amAfter fifteen years of playing in rock bands in big cities across Canada, Carmen Townsend returned to her hometown of Cape Breton, Nova Scotia, to nurture her own sound.

Her long-awaited debut album, Waitin’ and Seein’, was produced by Violent Femmes’ Gordon Gano and tracked at Carriage House Studios in Connecticut and Soundpark Studios in Cape Breton.

Listen to the album’s opening track, the rollicking “River Rat,” right-click here to download an MP3 of the track, and click here to check out Carmen Townsend’s official site.

"Incandescent!" - FAME reviews Shore Leave by The Town Pants

2011-05-05T14:39:00.000-07:00

Official Site

Shop EMI

iTunes

Bad Haggis, Tempest, Sliotar, The Pogues, even The Immaculate Fools, and others. The Town Pants fall very nicely in that category and remind strongly of all the aforegoing blent with Horslips, String Driven Thing, and perhaps another ensemble or two.

They meld an Elizabethan Anglo folk feeling into their Irish wont, then infuse a generous rock element for a result that makes you want to dance, shout, drink, laugh, love, and think...but mostly raise a grinning ruckus.

The lads know their instruments well, and Kyle Taylor is a demon on the fiddle, but when everyone kicks into overdrive, which they do many times, the melee turns incandescent. Ah, but here's a kick an' a half fer ya: they cover speed metal gods Iron Maiden'sRun for the Hills in a cloverfield rendition!! Yee-haw, but that there's my kinda eclecticism, Seamus!

Bawdy, ribald, maverick, and as talented as any three other such bands, the Pants have worked through four previous CDs to arrive at this festive, arse shakin', effervescent collection of serially inspiring earthy songs fraught with passion, cynicism, iconoclasm, and, well, you know the Irish: we loves us our liquor we does and thus never forgets the raising of the wrist, y'all.

Trains not Taken has the hip ring of Sniff 'N The Tears as well, polished and urban-hip but underscored with a timeless knowingness that chooses to remain mortal and in the blood of life…but dancing through it all despite. And if you've ever had a night where you woke up and drank 'a hot mug of butter / And spread some coffee on [your] toast', then you know precisely where these lads hail from and have sufficient cause to sing along with them that Death Feels Like Me Today. I've certainly been there and wish I'd'a had this disc for the morning after pick-me-up; I would've been dancing a jig instead of swearing for the 9,458th time that I'd never do that again…just before returning to the scene of the crime and ordering another pint, hoping that The Town Pants would be in again in the evening to heat up the pub on a chill night.

A review written for the Folk & Acoustic Music Exchange
by Mark S. Tucker
(progdawg@hotmail.com).

"A Highly Impressive Debut" - FAME reviews Alchemist by Project

2011-05-05T13:43:00.000-07:00

Official Site

ShopEMI

iTunes

In a highly impressive debut EP, Project immediately establishes itself as a progfusion outfit that needn't ask for entry into that hermetic world, its street cred 100% in order, its talent glaringly evident, and its consummate taste nearly unaccompanied in the current milieu.

A gorgeously orchestral blend of many tastes from everywhere, the 10-person mini-symphonia has created a sound that fuses Romanticism with Glassian meta-serialism and an atmosphere wherein the Berlin pulse shakes hands with Ibizan tropicality.

Anchored by composer and terrenely muscular drummer Mike St-Jean, whom I will predict is going to find himself soon in the forefront of percussionistic regard, Project has woven a glitteringly sensuous fabric of sound that grabs the listener by cerebellum and torso to provoke intellectual hypnosis and somatic seduction. You might, reading that, momentarily think "Oh yeah...Enigma!", but their sound goes well beyond that and into territory earlier marked out by many outfits, now collapsed down into a neoclassicism that embraces its antecedents with affection. True prog has ever been thus.

Think Minimum Vital, think Ozric Tentacles, think Gong, Sebastian Hardy, Alan Parsons, and myriad other outfits, and then project outwards, but also look upon Alchemist as something a very hip contemporary Neville Mariner might have joined, no longer content to just conduct and influence but eager to participate, drawing rich multi-tiered arrangements into the heady mix. The three-person string section contributes mightily to that lavish ingredient amid an already complicated but coherent swirling atmosphere. One might even venture that Project is somewhat the flipside of Univers Zero, as captivating and futuristic minus the storm and thunder, more the glowing aftermath now that the storm has passed on, the revivification of nature momentarily hushed, now re-emerging in all its subtler glories, rich and rhythmic.

Penguin Cafe Orchestra makes its way into the evolving landscape, especially in By Southwest, a delectable cut in which guitarist Alvaro Rojas surprises the listener in the comprehension that Project isn't much devoted to soloing, so collectivistic is its backbone. The six-stringer's appearance is brief, a sharp upspike of individual presence in the morphic field, but surprising and only redoubles the audient's growing engrossment with the entire affair. Evan Arntzen repeats the singularity on sax in the closing track for a sightly more emphatic but just as truncated appearance. The two-time illustration in purposeful tantalization makes the device all the more interesting.

Thus, dear FAME gaggle, don't pillory me when this sweeping tableau ends after only 25 enchanting minutes: I warned ya it was a EP right from the outset. T'ain't my fault, y'see, but I'll be more than happy to spearhead a fanbase effort to force these musicians back into the studio to further their artistry for our ravening ears—not that I'm advocating for my personal hedonism, you understand, certainly not that, never, not at all, oh my goodness perish the thought! I'm quite concerned with group evolution, naturally, it goes without saying, and a, oh I don't know, kinda martial Marxistic perversion of harmonic propinquity-adhered reflex urges me to strive towards that end, but…waddaya think…a 10-CD suite perhaps? Yep, sounds good to me, too. Surfeit can be a very nice estate.

A review written for the Folk & Acoustic Music Exchange
by Mark S. Tucker
(progdawg@hotmail.com).

Randy Quaid's "Star Whackers" & "Will We Be Together Then Available Today"!

2011-05-03T08:36:00.000-07:00

Mixed and mastered by award winning and producer/engineer, Mike Rogerson (Sheryl Crowe, Shelby Lynne & Green Day) the new 45 features the infamous “Star Whackers”, a hard hitting roots-rock styled number featuring smart and clever lyrics directed at those who feed the public’s appetite for propaganda and drive the cult of personality and the beautifully penned Americana Johnny Cash influenced lovers lament “Will We Be Together Then”, an open and honest love song written by Evi and Randy while traveling through troubling times.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;lt;a href="http://randyquaid.bandcamp.com/album/randy-quaid-digital-45"&amp;amp;amp;amp;amp;amp;gt;Randy Quaid - Digital 45 by Maximum Music Group&amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Available today wherever you by your music online.

Sessions Vol. 1 is Almost Here

2011-04-18T11:30:00.000-07:00

Hit Sessions Vol. 1 is a compilation of various artists, that celebrates the writing, producing and engineering skills of graduates from the Advanced Recording Artist (ARA) program at the Harbourside Institute of Technology. The compilation showcases some of the brightest new artists on the scene today.

The “Sessions” series is a joint venture between Harbourside Music Productions and Maximum Music Group, dedicated to discovering, and recording, a wide selection of emerging artists from all genres of music. Through the efforts of the student run label “Hit Records” the venture is committed to finding new and innovative ways to connect, market and promote these artists to the world stage.

The Harbourside Institute of Technology (HIT) is one of Canada’s premier Audio Engineering and Music Production schools, dedicated to the pursuit of creative excellence combined with the technical knowledge and networking skills necessary to succeed in today’s highly competitive audio industry.

&lt;p&gt;&amp;lt;a href="http://sessions.bandcamp.com/album/sessions-vol-1-various-artists"&amp;gt;Sessions Vol. 1 - Various Artists by Hit Records/Maxmimum Music Group/EMI&amp;lt;/a&amp;gt;&lt;/p&gt;
For more information visit: www.harboursideit.comcreditsRecorded At:
The Harbourside Institute of Technology | www.harboursideit.com

Mixed & Mastered by:
Sam Ryan | www.sosmusic.biz
Mike Rogerson| www.mikerogersonmusic.com

Produced by:
Tony Rudner | www.harboursideit.com
Brian Watson | www.maximummusicgroup.com

Randy Quaid To Release Digital 45

2011-04-14T07:07:00.000-07:00

- FOR IMMEDIATE RELEASE -

Thursday April 14, 2011 (Vancouver, BC) - Award winning indie label Maximum Music Group is proud to announce an exciting new partnership with Randy Quaid and Evi Quaid that will focus on the recording, distribution and marketing of new songs written and performed by Randy Quaid.

Produced by The Quaid's and John Shewfelt, the first two singles will be released on a self-titled digital 45 available for download on Tuesday, May 3, 2011 on iTunes and wherever you buy your music online.

Mixed and mastered by award winning heavyweight engineer, Mike Rogerson (Sheryl Crowe, Shelby Lynne & Green Day) the new 45 features the infamous "Star Whackers", a hard-hitting rock-rebel styled number and the beautiful Americana-Johnny Cash influenced lovers-lament "Will We Be Together Then", an open and honest love song written by Evi and Randy while traveling through troubling times.

Academy Award nominee and Golden Globe winner Randy Quaid may be best known as an acclaimed and respected actor but music has always had a place in Randy's life. He began performing as a singer-songwriter before his acting career took off, he and wife, creative partner Evi started playing and writing music together as a way to express their love and frustration. Finding relief in telling the truth through song, Randy and Evi kept putting pen to paper, often writing down simple ideas and verses that would later become finished compositions.

Most recently Randy appeared live on stage at the legendary Commodore Ballroom in Vancouver, where he realized how good playing music and being on stage felt, and thus together entered the studio to record a series of songs that will eventually become his first full length album, to be released worldwide later this year by Maximum Music/EMI.

Randy's band is Randy Quaid on lead vocals, John Shewfelt (Drums), Mark Hopkinson (Guitar), Bruce Green (Guitar) & Rich Johnson (Bass)

- ### -

About Maximum Music Group
Maximum is an award winning artist management, record label and music marketing company dedicated to discovering new and innovative ways to connect, promote and deliver artists and their music to the world.

Our label and management divisions have overseen the release of more than 100 albums from artists such as Randy Bachman, The Guess Who, Jim Byrne's and Brad Turner. Maximum has also helped launch some of the most respected and successful indie labels in Canada today including, Black Hen Music, Cellar Live, Drip Audio, Northern Electric and Vinyl Republik.

Our clients have been recognized with:
6 Juno Awards
9 National Jazz Awards
6 Western Canadian Music Awards
5 Canadian "Indie" Music Awards
3 Canadian Urban Music Awards

Maximum's global marketing partners include EMI Music and IODA.

Web Links:
Maximum Music Group: www.maximummusicgroup.com

For further information or to request your review copies please contact:
Brian Watson, Maximum Music Group
Tel: 778.987.7243

Email: Brian.Watson@MaximumMusicGroup.com

For Immediate Release :: Academy Award nominee and Golden Globe winner Randy Quaid To Release Digital 45

2011-04-13T12:00:00.000-07:00

Award winning indie label Maximum Music Group is proud to announce a new partnership with Randy Quaid & Evi Quaid. This creative and exciting partnership will focus on the distribution and marketing of a series of songs written and recorded by Randy Quaid.

Read Full Press Release

Randy Quaid & The Fugitives

2011-04-08T15:46:00.000-07:00

Academy Award nominee and golden globe winner Randy Quaid may be best known as an acclaimed and respected actor but music has always had a place in Randy's life. He began performing as a singer-songwriter before his acting career took off, he and wife, creative partner Evi started playing and writing music together as a way to express their love and frustration. Finding relief in telling the truth through song, Randy and Evi kept putting pen to paper, often writing down simple ideas and verses that would later become finished compositions.

Most recently Randy appeared live on stage at the legendary Commodore Ballroom in Vancouver, and backed by his stellar band he realized how good playing music and being on stage felt, and thus together entered the studio to record a series of songs that will eventually become his first full length album, to be released worldwide later this year by Maximum Music/EMI.

The first two singles include the infamous Star Whackers, a hard-hitting rock-rebel styled number and the beautiful Americana-Cash-eque influenced lovers-lament "Will We Be Together Then", an open and honest love song written by Evi and Randy while traveling through troubling times.

Randy Quaid on lead vocals, John Shewfelt (Drums), Mark Hopkinson (Guitar), Bruce Green (Guitar) & Rich Johnson (Bass)

The Town Pants Live on Urban Rush

2011-04-05T10:27:00.000-07:00

Broadcast daily to 3.3 million households in Canada. Urban Rush on Shaw TV is Vancouver's award winning entertainment talk show. Hosts Michael Eckford and Fiona Forbes talk to celtic-roots-rock rebels The Town Pants about their new album Shore Leave and their legendary gig with Academy Award & Golden Globe nominee Randy Quaid.

Randy Quaid recording pair of songs in Vancouver

2011-03-31T08:45:00.000-07:00

Randy Quaid is in a Vancouver studio recording two songs he debuted live earlier this month. Star Whackers and the ballad Will We Be Together Then are expected to be released digitally by Maximum Music/EMI, likely in late April.

Maximum Music Group president Brian Watson said he made the proposal after hearing Quaid and his band perform the songs at The Commodore Ballroom. (full story)

Carmen Townsend Video Series feat River Rat

2011-03-30T13:52:00.000-07:00

Carmen Townsend launches new video series. Stay tuned for videos of selected tracks from her new album Waitin' & Seein'. Each video showcases performances by Carmen and her band that are Uncut, Unedited, performed in One Take, Loud & and all Live Off The Floor!

Congrats to our EMI Friends & Family on their success at the 2011 Juno Awards

2011-03-28T10:47:00.000-07:00

INTERNATIONAL ALBUM OF THE YEAR
Teenage Dream Katy Perry (EMI)

NEW GROUP OF THE YEAR (SPONSORED BY FACTOR AND RADIO STARMAKER FUND)
Said The Whale (Hidden Pony/EMI)

COUNTRY ALBUM OF THE YEAR (SPONSORED BY COUNTRY STYLE)
A Place Called Love | Johnny Reid (Johnny Mac/EMI)

CONTEMPORARY JAZZ ALBUM OF THE YEAR (SPONSORED BY WORLD VISION ARTIST ASSOCIATES)
Treelines | Christine Jensen Jazz Orchestra (Justin Time/EMI)

DANCE RECORDING OF THE YEAR
Sofi Needs a Ladder | Deadmau5 (Ultra/EMI)

RECORDING PACKAGE OF THE YEAR
Justin Peroff, Robyn Kotyk & Joe McKay (Art Directors/Designers); Jimmy Collins & Elisabeth Chicoine (Photographers)
Forgiveness Rock Record Vinyl Box Set | Broken Social Scene (Arts&Crafts/EMI)

Vote for NEW Carmen Townsend on Live 105

2011-03-22T12:12:00.000-07:00

Randy Quaid and The Fugitives Live In Vancouver

2011-03-21T15:35:00.000-07:00

Randy Quaid hit the stage this past Friday night at the famous Commodore Ballroom, not to film a scene from a new Hollywood blockbuster, but as a singer-songwriter, debuting two songs from what could be a new EP in the offing.

Quaid stands alongside such peers as Bill Bob Thornton, Kevin Costner, Dan Aykroyd and Russell Crowe. As creative people it is completely reasonable to assume that actors are moved by music as much as anyone else, but unfortunately, there's usually suspicion following those actors who become singer-songwriters. Happily Quaid did himself and his band proud, quickly proving all naysayers wrong.

The first of two songs was the serene lover's lament entitled Will We Be Together Then, a beautiful piece of Americana with Cash-esque vocals, followed by the punk/roots-rock of Star Whackers featuring smart and clever lyrics directed at those who feed the public's appetite for propaganda and drive the cult of personality.

St. Patrick's Night with The Town Pants

2011-03-13T18:54:00.000-07:00

Carmen Townsend LIVE @ CMW 11

2011-03-11T15:19:00.000-08:00

The Paquin Agency presents CMW Night 3 with some of the most celebrated talent in Canada with a diverse set of artists spanning the rock, folk and indie worlds, and an appearance by children's performer Fred Penner, the night serves as a great sampler of Paquin's acclaimed roster:

The Heartbroken - 11PM
Carmen Townsend - 10PM
Wool on Wolves - 9PM
Fred Penner - 830PM
Del Barber - 8PM

Tickets available at the door - or get your festival wristband here!

North Shore News Interviews The Town Pants

2011-03-04T11:28:00.000-08:00

CD | Digital | Photo by Adam PW Smith

The Town Pants are booked for a few pre-St. Patrick’s Day shows in the United States before returning home for a March 18 gig at the Commodore Ballroom.

When brothers Duane and Dave Keogh and Aaron Chapman started strumming Celtic melodies across the North Shore, they knew they had a winner -- partly because the band was named after one. (read more...)

To win two tickets to the show and a Town Pants CD library enter contest at www.nsnews.com/entertainment.

You definitely need to check this band out

2011-02-18T10:50:00.000-08:00

CD | Digital

Song stuck in my head...

“Drinking in The Graveyard” by The Town Pants. I had a difficult time picking a favourite track from Shore Leave, the new CD by Vancouver’s Celtic roots rock rebels. This accomplished fifth album is just such a lively and lyrical treat from start to finish. If you’re an old-time Spirt of the West fan like me, you definitely need to check this band out. Great stuff.

Grant McKenzie | Monday Magazine

"Instrumental Brilliance In A League Of It's Own"

2011-02-17T15:17:00.000-08:00

Alchemist is a short, five-track EP that lets the music speak for itself. It’s refreshing to see that the album doesn’t rely on flashy packaging and artwork to grab attention, as it contains only five photos to symbolize each track. Composed by ProJect, music veteran duo Mike St-Jean and Matt Rosen, this ethereal and lush collection of instrumental brilliance is in a league of its own. It sounds like an electronic version of the soundtrack to a tragic love story. To understand the quality of ProJect’s odd collaborations, I’d recommend giving ‘By Southwest’ a listen.

CD Review: The Town Pants | The Argosy

2011-02-13T13:13:00.000-08:00

A Celtic rock group from North Vancouver, The Town Pants delivers warm soul along with a rebel punch. Their music has been dubbed West Coast Celtic, because of their instrumental blend of Irish traditional and Americana roots.

Their latest release, Shore Leave, is upbeat and stylistically varied, surprisingly so for a folk repertoire. They have a sound very similar to Mumford and Sons, especially the second track, ‘trains not taken’.

They show maturity in their songwriting in ‘coming home’, a nostalgic ballad about reuniting with friends and family – my favourite song on this gem of an album. With lyrics like ‘a thousand days behind me, and a thousand miles to go’ paired with uplifting string melody, this song basks the listener in optimism. You should check out the last track ‘run to the hills’!

CD Review: The Town Pants | The Uniter: Winnipeg's Weekly Urban Journal

2011-02-08T17:37:00.000-08:00

THE TOWN PANTS

Shore Leave
Label: Maximum Music
4 out of 5 stars

Now this is something that I am down for. The Town Pants have created their own division of Celtic that lends itself to an audience somewhere in between the heavy drinkers and the soft rockers. Shore Leave is an album of 10 bumping songs that lay the drums on thick, throwing in some banjo, fiddle, tin whistle, bass and guitar. Their energy soars even in slow tunes like Angel and skyrockets in upbeat tracks like Drinking In The Graveyard. Each track is inventive, the percussion and other varying musical instruments fit perfectly together, stylishly and with a great rhythm...the album spills over with character.

By Sara Shyiak

Carmen Townsend #30 Most Viewed Musician on YouTube

2011-02-03T16:34:00.000-08:00

Carmen and band lay down a smokin' version of Open Sea "Live Off The Floor" at the Warehouse Rehearsals.

Carmen Townsend on Live 105 w/ Scotty Mars

2011-01-28T10:54:00.000-08:00

Carmen Townsend hearts Ann and Nancy Wilson

2011-01-27T17:00:00.000-08:00

Swinging her mane of fiery red hair, Carmen Townsend belted out the lyrics to Barracuda, Magic Man and Crazy on You; she was just a kid, singing all alone with her living room as a stage. [read more @ HereNB.com]

Carmen Townsend On Tour With Heart

2011-01-25T14:16:00.000-08:00

Carmen Townsend - CBC Radio 3 Track of The Day

2011-01-13T23:07:00.000-08:00

Carmen Townsend Tours With Legendary Rock Band Heart

2011-01-12T21:28:00.000-08:00

Fresh off of an Australian tour and currently showcasing in select cities across Canada, Carmen Townsend has been selected to tour with the groundbreaking rock and roll band Heart. Playing 20 dates coast-to-coast as part of the Heart Comes Home – Canada Tour 2011, Carmen was hand picked by the band themselves in what is shaping up to be one of 2011’s hottest concert tours. And all before the release of her upcoming album Waitin’ and Seein’.

Born and raised in Cape Breton, Nova Scotia, Townsend has been making music her whole life. Both on the album and on stage she immediately strikes a chord on two levels: her live-wire sound is vast, with stretching riffs that build into a fierce sonic motion accompanied by vocals that are earthy and enduring, her voice becomes a powerful instrument all on its own.

Starting in St. John’s, NL and working it’s way to Vancouver, BC the tour marks the 35th anniversary of Heart’s debut record and first coast-to-coast Canadian tour in three decades. With the January 25th release of Waitin’ and Seein’ (Company House/EMI) the timing couldn’t be more perfect for Carmen Townsend to share her talent with the country she calls home.

For more music, tour dates and more info please visit: www.carmentownsend.ca

Purchase tickets for the Heart Comes Home Canada Tour 2011 here:

www.heart-music.com/tourdates.html

Courtesy of: www.musicsheblogged.com

Carmen Townsend Live In Vancouver!

2011-01-11T17:41:00.000-08:00

Breaking News! Company House/EMI recording artist Carmen Townsend celebrates new album w/free show 2nite 7p @ Railway Vancity

The Death Of The Major Labels

2011-01-01T00:00:00.000-08:00

Distribution is king. Remember that please. He who owns the pipe wins. It's why John Malone is so rich and powerful, to the point where one can argue HE is the most important person in the music business, owning so much stock in Live Nation. Distribution is not glamorous, but it's where the action is. Let me make it simple, it doesn't matter how good your album is if no one ever hears it. The major labels were in charge of getting music made and heard. That monopoly on distribution is gone. THAT'S why they're in trouble, not P2P theft. The Internet broke their hold on distribution.

The reason major labels survive to the extent they do, other than their trove of copyrights, is their control of distribution on terrestrial radio and television. You cannot get a record played on a major station unless you're on a major label. Insiders know that the Spitzer crackdown actually made the result worse. And television wants gatekeepers, channels don't want to deal with every wannabe in the world, they want to be spoon-fed acts that will be supported, that will make a splash in the media, they don't want to be caught out on a limb. Alone. Which is why you rarely see the cutting edge on TV. The mainstream is a club, it's not about taking risks.

Then again, I was out with a major label publicity person and a powerful indie and they both said that late night TV gives no bump whatsoever. Used to be there were few shows many watched that featured music only occasionally. Now music is on constantly and no one cares. There's no sales bump. You want a spike? Go on Sunday morning television, they say that still has power.

But the main power of the major labels used to be the control of retail distribution. They could get records in stores and could get paid. And if you think either of those are easy you live in a fantasyland where your eight year old just got GarageBand and you believe he'll be a world-dominating superstar in three months.

But the Internet killed the major label distribution stranglehold. Anyone can sign up with Tunecore and get their music on iTunes. ANYBODY! Sure, the music won't sell, except to family and friends, but it's what this represents that's important. Access and the ability to get paid. The power has shifted.

As for terrestrial radio...it means ever less. Same with TV. You can thank technology, most especially the Internet, for that. People watch what they want when they want. The days of sitting in front of the TV seeing what's next are heading towards extinction, killed by the DVR and online access.

And speaking of TV, all of the above is inspired by a fantastic article in "The Atlantic" about Netflix. About its distribution power. How content creation does not scale, how that's not where the money is. It's long, and it can get boring, but I recommend it:

http://bit.ly/jDgN0N

So the major labels aren't coming back. Never ever. Don't pay attention to the hype. Sure, they can make superstars of the bland playing to the masses, but most people just don't care. And the action is in the rest of the morass, the amalgamation of all of the indies.

I'll make it simple. iTunes is distribution. Apple creates and sells no music. It's just a storefront, a pipe. But look at Apple dictating to the labels, look how powerful Apple has become. Hell, Apple not only killed record stores with iTunes, but the CD with its iPod!

I can't tell you exactly where we're going. Oh, I could, but I'd be wrong. Because you just can't predict the future. But I will tell you that more people will make music, because the barrier to entry is so low. And that he who can connect the public with good music will be very powerful. So powerful he can dictate to the creators. That was the power of MTV. They owned the pipe. The major labels don't want to give any entity the REVENUE of MTV. They should worry more about giving a new entity the POWER of MTV. Because first comes the power, then comes money.

Look at Vevo. It's distribution, but not only does it lose money, it fails to aggregate all the indies. That's YouTube's power. YouTube is where you go to see videos. YouTube is a distributor.

So never ever believe content is king. Howard Stern would be irrelevant if no radio station aired him. Then again, before re-upping with Sirius XM, Howard contemplated distributing his show himself. That's now possible. That's why radio is in trouble.

And who's got a ton of power? THE CABLE COMPANIES! THE WIRELESS COMPANIES! THAT'S WHERE YOU GET YOUR INFO! THE INTERNET FLOWS THROUGH THEM!

Pipe is not sexy, but pipe is where both the money and the power are.

Content creators get all the ink. They're the sauce everybody's interested in.

But those who deliver the content truly have all the power, make most of the money.

Insiders know. DISTRIBUTION IS KING!

Rave Magazine, Brisbane's leading street magazine reviews Carmen Townsend's, Waitin' and Seein'

2010-12-13T17:56:00.000-08:00

Carmen Townsend’s debut album Waitin’ And Seein’ opens with crunching drums and bracing, distorted guitars...more

Behind those baby-blue eyes rages a wild rocker...

2010-12-13T17:33:00.000-08:00

Read the Carmen Townsend interview with the Newcastle Herald.

Carmen Townsend Interview with the Newcastle Herald _09DEC10

Greg Potter and TV Week Magazine weigh in on Shore Leave by The Town Pants

2010-12-13T15:36:00.000-08:00

Local lads lead rowdy, rousing, boozy Celtic folk-rock that calls for reeling and singalongs. Elements of American folk-rock ("Trains Not Taken") open up the genre and disparage façile Pogues comparisons. Performances are visceral, the harmonies are full-throated...making this instantly accessible and thoroughly enjoyable. 4 Stars!

Download this: "The Unlikely Redemption of Oliver Reed"

www.thetownpants.com

Free Music Friday Featuring Carmen Townsend

2010-11-26T07:59:00.000-08:00

Download Here

Waitin' and Seein' was recorded at Carriage House Studios in Connecticut and Soundpark Studios in Cape Breton where Carmen worked with a heavy-weight team including the amazing mixing engineer Mike Fraser (AC/DC), mastering technician Joao Carvalho, songwriter Jesse Harris (Norah Jones) and producers Warren Bruleigh (Louis Attaque), Gordon Gano (Violent Femmes) and Darren Gallop. All of us are so excited about the project and hope that you all love it as much as we do.

Carmen Townsend Australian CD Release and Tour

2010-11-22T15:27:00.000-08:00

Carmen Townsend’s debut CD, is Waitin’ and Seein’ now available in Australia through ABC/Universal. The record co-produced by Gordon Gano (Violent Femmes) and Warren Bruleigh (Jane’s Addiction) and mixed in true hard rock fashion by Mike Fraser (AC/DC, Aerosmith) has been described as raw, melodic, at times abrasive and heartbreakingly gorgeous and is available in-stores nationwide or online at iTunes Australia.

In support, Carmen will be taking her naturally-crafted rock 'n roll down-under this December and touring with fellow kick-ass rock duo The Fumes. New dates announced daily...

Maximum Welcomes Carmen Townsend & Company House Records

2010-11-18T12:24:00.000-08:00

Maximum is excited to say that we're now kickin' it with Cape Breton's own guitar-wielding phoenix Carmen Townsend and the cat's over at Company House Records, marketing and promoting Carmen's wickedly cool new single "Start All Over" to Commercial, College and CBC radio from Victoria to Cape Breton and all stops in-between.

Winner of HMV's Next Big Thing coupled with a naturally crafted, rock & roll sound that echoes Bjork, Yeah Yeah Yeahs, Jeff Buckley and Led Zeppelin, Ms.Townsend and her band have evolved into one of the most promising rock acts in the country. Look & Listen for the single to hit airwaves early 2011 with tour dates to follow.

Company House Records is the award winning indie label and management company distributed by EMI Music Canada and home to acclaimed artists the Tom Waits-esq, Tom Fun Orchestra and indie-rockers Slowcoaster.

New Town Pants Album Out Today

2010-11-02T10:25:00.000-07:00

Maximum Music Group and EMI Music Canada are proud to release Shore Leave the new album from Celtic-roots-rock rebels The Town Pants.

Now in stores across Canada Shore Leave is also available at EMIMusic.ca, iTunes and wherever else you buy your music online.

This Vancouver-based band combines aspects of Irish traditional, acoustic pop, roots Americana, even Australian and Mexican influences, to create their own unique brand of West Coast Celtic. With a decade's worth of headlining roots and folk festivals, to selling out nights at rock venues, Maximum/EMI recording artists The Town Pants own brand of “Celtic roots rock rebel” spans five albums so far, and is backed up with and a legendary live show that’s garnered them fans internationally from Ottawa to Oslo.

The Town Pants features the dual lead vocals of brothers Duane and Dave Keogh on guitar and banjo, respectively, tin whistle virtuoso Aaron Chapman, Ivanka Watkin on fiddle, bassist John Senchuck and drummer Gilles Nadon. Rarely does a band have this combination of passion, energy animation and spirit that all makes for some of the most imaginative songwriting by some seriously talented players that you’ll find in the genre.

With Shore Leave, The Town Pants delivers their best yet, not just standard Celt-rock anthems for drinkers and thinkers, they raise the bar both lyrically and musically on the Celtic rock oeuvre. The Town Pants have never sounded both wilder and more mature.

Shore Leave features guest appearances by Spirit of the West's Geoffrey Kelly, 54-40's David Osborne, acclaimed indie artist Ford Pier and multi-instrumentalist Meghan Engel.

:: Reviews

Sublime harmonies, kind of like a Celtic Everly Brothers :: TimesUnion.com

You don't need a town crier to tell you the Town Pants are something special. All you need is a dose of their gleeful, energetic live show, a blend of infectious, Celtic-inspired rock that's heavy on tin whistles, fiddle, and banjo with healthy shots of off-the-cuff banter between band mates; but the primary reason Town Pants shine so brightly -- stellar musicianship. This band soars! :: GoErie.com

The average Town Pants concert is an exploding bonzo of fuckdrunken insanity. A group of seriously killer players! :: Georgia Straight

The New Maximum A&R Drop Box Now Open!

2010-10-22T10:00:00.000-07:00

We here at Maximum are always looking for new music to add to our playlists. If you have something you think is kick-ass then stop by our A&R drive-through window and simply drop it off. Open 24/7!

If we really dig it and think we can help make you rich and famous we may even feature it on our site, blogs and newsletters.

For more information on our A&R policy visit the FYI page.

American Songwriter Showcases Mikey Wax

2010-10-21T13:34:00.000-07:00

The track "Birmingham" by tune-smith Mikey Wax is featured this week on the homepage of American Songwriter Magazine! As we all know American Songwriter Magazine the most prestigious music magazines for the craft of the singer/songwriter!

Hailing from Long Island, NY, singer-songwriter Mikey Wax is influenced by classic artists like the Beatles and U2, including contemporary artists such as Dave Matthews, John Mayer, and David Gray.

With over 1 million plays on MySpace, Mikey has gone on to develop a credible following throughout the US exemplified by his video for "In Case I Go Again" reaching over 420,000 views on YouTube.

"Not since the debut of John Mayer has there been a singer/songwriter that has managed to capture the same excitement as Mikey Wax has with his music in a longtime. With an amazing voice and enduring presence, Mikey has all the magical parts (talents, skills, stage presence, looks, and that amazing voice) to make him a special commodity in the music industry." (www.juniorscave.com)

Florence + the Machine: “Cosmic Love Remix” Free Download

2010-10-14T15:37:00.000-07:00

On top of a show stopping performance at the VMA's and a sold out US tour, Florence is giving away a short club remix of Cosmic Love in celebration of her VMA nominations for Best Video of the Year and Best Rock Video (and a couple others). This is a very cool remix with a big, swirling feel of space and dance! Download, turn the volume all the way up and enjoy!

Watch the video for “The Dog Days Are Over” that got her the nominations!

The Mighty One Live and Loud In Vancouver

2010-10-13T16:21:00.000-07:00

THE MIGHTY ONE is Live and Loud at the Shark Club, Vancouver, Friday November 5th, 2010!

Featuring insanely memorable, hook laden, melodic modern rock, THE MIGHTY ONE unveils a powerhouse band featuring members of Econoline Crush, Shocore, City of Fire, Yeah Whatever and Crash Electric.

The single "Reprieved", (produced by Devin Townsend) can be heard across North America on commercial and college rock radio! The official video for "Reprieved" is in regular rotation at Much Loud and Much Music and the self-titled debut has received a staggering 2.5 million plays at NumberOneMusic.com

Where: The Shark Club, 180 W Georgia Street, Vancouver
Who: With Six To Midnight and Louder Than Love
When: 9pm Friday, November 5, 2010

Web Links ::
TheMightyOne
YouTube
Facebook
MySpace
iTunes

Alchemist Could Be The Poster Child For Ambient Music

2010-10-13T10:53:00.000-07:00

ProJect’s latest album, the brainchild of electronic artist Matt Rosen and drummer Mike St-Jean...the forth track By Southwest has a very chilled-out and cloudlike feel to it, whereas their fifth track, Altitude in Motion, provokes underwater imagery. This album could be the poster child for ambient music. Each track flows together seamlessly and softly...a lot of character and is enjoyable as well as relaxing. Well worth a listen.

Web Links ::

The Town Pants Live In Vancouver - Thurs, Oct 21

2010-10-06T12:24:00.000-07:00

It's back and bigger than ever!

99.3 the FOX and Landsea Tours & Adventures presents: Stuff the Bus Concert IV featuring 2009 Vancouver Fox Seeds Winners - Goodbye Beatdown, local legendary Irish Rockers - The Town Pants and the compelling singer/songwriter - David Blair!

All proceeds go to help Vancouver Homeless Transitional Shelters operated by St. James Community Service Society

In the past 3 years 11 buses have been filled with donations! Help us continue to make a huge difference for Vancouver's Homeless in a positive way!

As normal there will be lots of prizes, AMAZING live music, a ton of singing, stomping your feet and plenty of dancing!

Thursday, October 21 at 8:00pm - October 22 at 1:00am and hosted by Kevin Pierce

Doors open at 8PM @ VENUE (881 Granville Street Vancouver BC)

TIX on Sale now at http://www.clubzone.com/events/285719/vancouver/venue/stuff-the-bus-w-goodbye-beatdown-the-town-pas-david-blair

-OR-

by phone at 604-255-7272
$20 in advance, $22 at the door

A cool little streamer from our pals at EMI Music

2010-10-04T19:57:00.000-07:00

Now Country 4 returns featuring the biggest hits by today’s hottest country stars including Keith Urban, Lady Antebellum, Darius Rucker, Johnny Reid, Terri Clark, Dierks Bentley, Uncle Kracker, Kevin Costner & more.

Embed Code

Want to include this widget on your own blog or website? Grab the code here.

SPIN's 2010 Austin City Limits Mixtape

2010-10-02T08:16:00.000-07:00

Free Album Download! SPIN's Top Tunes of Austin City Limits

October 8-10 brings us Austin City Limits, an annual celebration of music in the Texas capital's gorgeous Zilker Park, attended by some 65,000 fans daily. To get you psyched for the festival (even if you're not going), we've posted a free download album of songs by 10 must-hear bands picked by the editors of SPIN.

SPIN's Lone Star Solid State compilation features tracks from ACL performers like Edward Sharpe & the Magnetic Zeros, the Gaslight Anthem, Matt & Kim, Beach House, Pete Yorn, and more.

Tracklisting:
1. Girls, "Lust for Life"
2. The Gaslight Anthem, "The Spirit of Jazz"
3. Lissie, "In Sleep (Live)"
4. Edward Sharpe & the Magnetic Zeros, "40 Day Dream"
5. Pete Yorn, "Rock Crowd"
6. First Aid Kit, "Hard Believer"
7. Bear In Heaven, "Wholehearted Mess"
8. Matt & Kim, "Cameras"
9. Beach House, "Norway"
10. Deadmau5, "A City in Florida"

Download your free copy by clicking "GET IT NOW".

Check out our full ACL preview here.

Math Rosen, Auto Reverse Vol.1 Free Download

2010-10-01T18:10:00.000-07:00

Canadian beat-slinger Math Rosen releases Audio-Reverse, Volume 1. 30 minutes of new original beats, featuring all your favourite rappers.

Remember those Rap Traxx days Neneh Cherry, LL Cool J, Kool Moe D, Mix-a-Lot. I've always wanted to see those Rap Traxx days again. So I'm popping a new tape in the deck. I won't hit rewind... Just push play, and flip that AUTO-REVERSE switch. See where it takes me. - Math Rosen

Rosen is the man behind Liar's Rosebush and most recently can be heard collaborating with composer/drummer Mike St-Jean as part of the acclaimed jazz-electronica group Project. Math fuses bass culture with noise and funk, producing beats that are both infectious and evocative. On stage, his signature live performance style of flailing limbs and fancy fingerwork transforms him into a bouncing hip-hop-electro-dynamo. Math Rosen brings an energy and personality to the game that few can rival.

www.mathrosen.com
www.myspace.com/mathrosen
www.soundcloud.com/mathrosen

The Social Network Sampler Download

2010-09-21T09:54:00.000-07:00

On October 1, The Social Network, directed by David Fincher, arrives in theatres. For the uninitiated, this is the hotly-anticipated movie about Facebook. Peter Travers from Rolling Stone said “It’s the movie of the year that also brilliantly defines the decade.” Trent Reznor and Atticus Ross composed the score and you can download the five-track sampler of The Social Network at Null Co.

The Mighty One and Maximum Management Join Forces

2010-09-20T17:37:00.000-07:00

Maximum Management is excited to announce that we are now working with the one and only Tim Steinruck...a.k.a The Mighty One. Produced by acclaimed metal impresario Devin Townsend (Steve Vai, Strapping Young Lad) and producer Scott Ternan (Jets Overhead, Marianas Trench, Sam Roberts) The Mighty One's eponymous debut serves-up insanely memorable wall of sound hook laden rock with a universal theme of awakening.

The first single Reprieved has made impressive inroads at radio on both sides of the border exemplified by the staggering 2.4 million plays at NumberOneMusic.com! The second single Back To You is expected to impact commercial and college radio this September.

Stay tuned for more news from The Mighty One and in the meantime check out the official video for Reprieved below.

Official sites:
TheMighty1.com
Twitter.com/The_Mighty_One

Management:

Valerie Biggin Management

vbiggin@shaw.ca

Topspin Free Music Friday

2010-09-17T19:41:00.000-07:00

Allow us to introduce the groove-sonic instrumental rock of Signal Hill. Influenced by bands such as: Tristeza, Owen, Cinematic Orchestra and The Bad Plus. Head over to their site now, where you can download a number of free singles and check out their new album, “Distance.”

Topspin Free Music Friday

2010-09-10T08:04:00.000-07:00

Rad Omen is at it again this week with a FREE download of their full 10-track debut LP,Search Party & Destroy. While you’re picking that up, check out a handful of other freebies, take a minute to admire their awesome website with Topspin integration, and of course don’t miss your favorite fast food chain mascots behaving badly in the Rad Anthem video.

The High Bar Gang Live

2010-09-09T12:42:00.000-07:00

Check out our very own Angela Harris as she performs with the new Bluegrass super-group The High Bar Gang.

The High Bar Gang features some of Canada's finest recording artists, songwriters and musicians, namely Barney Bentall on Guitar and Vocals Shari Ulrich on Fiddle, Mando, Vocals, Angela Harris on Vocals, Wendy Bird on Vocals, Colin Nairne on Guitar and Vocals, Rob Becker on Bass and Vocals and the indomitable Eric Reed on Banjo, Mandolin and Dobro.

Get the details...

Mike St-Jean in studio with Devin Townsend

2010-08-26T21:25:00.000-07:00

Mike St-Jean of Project has just completed recording in Vancouver at the renowned Factory Studio with the acclaimed Devin Townsend.

More ambient than on the heavy side, the new album "Ghost" is the fourth and final album in the series under banner the Devin Townsend Project. The album is expected to be released in the spring of 2011.

Mike has been working with Devin since 2008 and will be joining Devin on the road for his upcoming year-long world tour that will make stops in Europe, UK, US, Australia and of course Canada.

official site :: itunes :: emi music

It's Official!

2010-08-26T21:19:00.000-07:00

Alchemist the critically acclaimed debut e.p. by Project will be re-released via EMI Music Canada on October 26, 2010.

4.5 out of 5! Think Tortoise, Four Tet, or maybe even Final Fantasy, and you're getting there. But to say ProJect sound a lot like any of these acts, or anything else out there, doesn't quite get to the heart of this compelling and promising collaboration.

:: ChartAttack.com

Hope Flock

2010-07-20T17:21:00.000-07:00

Hope Flock from Matt Lockyer on Vimeo.

:: A Beautiful New Video from ProJect

2010-07-20T13:56:00.001-07:00

:: Official Site :: iTunes

Catch Rich Hope Live At The Railway Club

2010-07-14T19:53:00.000-07:00

"Shake This Joint Around” is the most direct introduction to an album to come since ZZ Top tore through “Thunderbird” on Fandango. The band beats with a pulse as steady as a piledriver, rolling forward like a lone freight across an endless prairie.

"A" | Stuart Derdeyn | The Vancouver Province

Official Site :: iTunes

Maximum Jazz Radio :: Vol 2

2010-07-06T13:56:00.000-07:00

In light of the recent solid press received for Project and their new album Alchemist we've decided to feature this exciting new release in its entirety. Soothing tunes for the long hot summer days...enjoy!

Maximum Jazz Radio :: Vol 2 by Maximum Jazz on Mixcloud

:: About
Project is a collaboration between composer and drummer Mike St-Jean and electronic artist and filmographer Math Rosen. Alchemist is a strong and impressive debut full of subtle rhythms, lush arrangements and infectious moments where keys, double bass & drums explore dynamic, tonal and energetic possibilities founded on digital samples & loops.

:: The Critics Speak
ChartAttack writes... 4.5 out of 5! Think Tortoise, Four Tet, or maybe even Final Fantasy, and you're getting there. But to say ProJect sound a lot like any of these acts, or anything else out there, doesn't quite get to the heart of this compelling and promising collaboration. more...

Monday Magazine states... Alchemist stands as a solid addition to any musical library that already includes the likes of Cinematic Orchestra, Cobblestone or Tom Middleton. more...

TV Week Magazine says... 4 Stars! Electronica for a universal audience.

:: For more information
On Project, Mike St. Jean or Math Rosen make sure to visit us at: projectmusiclive.com or iTunes

CD Review :: ChartAttack 4.5 out of 5

2010-06-28T12:46:00.000-07:00

In an age in which personality and packaging are key to so many acts and albums, it's refreshing and rare to come across a disc full of music that's intended to speak for itself. And if the music speaks volumes, as it does on ProJect's Alchemist EP, then so much the better.

Maybe the veterans behind the debut five-track EP were simply confident enough in their musicianship to let it take centre stage. After all, electronic artist/filmographer Matt Rosen has been recording as Liar's Rosebush for nearly a decade, and drummer/composer Mike St-Jean has worked with too many musicians to count in such a small space.

Together, and with the support of an extensive group of session musicians, Rosen and St-Jean have teamed up to create a lush and evocative debut that succeeds on its own terms.

Dressed up with nothing but sparse liner notes and a photograph intended to represent each of the disc's five tracks, the music on Alchemist is virtually free of any context other than its own — but it succeeds in creating whole worlds within that otherwise empty space.

Think Tortoise, Four Tet, or maybe even Final Fantasy, and you're getting there. But to say ProJect sound a lot like any of these acts, or anything else out there, doesn't quite get to the heart of this compelling and promising collaboration.

Reportedly, work on the group's first full-length release is already in progress. If the Alchemist EP is any indication or teaser, then it's going to be well worth a listen.

Links ::

:: ChartAttack

:: iTunes
:: Project

CD Review :: The Worst Thing About This Disc Is That It's To Damn Short

2010-06-28T12:15:00.000-07:00

CD Review: Project
POSTED BY: JOHN THRELFALL

Project: Alchemist (Maximum Jazz)

"The latest entry in the admittedly elusive jazz-electronica genre, Project is the Vancouver pairing of composer and drummer Mike St. Jean and electronic artist Math Rosen (Liar’s Rosebush), who together have created a lush soundscape that engages the ear as much as it does relax the mind. While only a five-track EP, Alchemist stands as a solid addition to any musical library that already includes the likes of Cinematic Orchestra, Cobblestone or Tom Middleton. Neither full-on beat-laden electronica nor anything in the traditionally laid-back jazz vein, Alchemist (much like its namesake) is an engaging blend of rich styles, guaranteed to intrigue anyone looking for a mature listen. The worst thing about this disc is that it’s so damn short, but it works great if you put it on repeat."

Links ::
:: Monday Magazine
:: iTunes
:: Project

CD Review :: 4 Stars for Project in TV Week Magazine

2010-06-28T12:06:00.000-07:00

4 Out of 5 Stars! “Locally produced electronica for a universal audience. A collaboration between composer/drummer Mike St-Jean and electronic artist/filmmaker Math Rosen, a mini-orchestra of jazz musicians fleshes out the soothing sample-and-loop-laden grooves and dream-inducing keyboards. Stunning photos in the package hint at the outfit’s multimedia performances.” - Greg Potter

Links ::
:: TV Week Magazine
:: iTunes
:: Project

Hope by Project from the album Alchemist

2010-06-28T11:35:00.000-07:00

For Immediate Release :: New Album From Mike St-Jean & Math Rosen In Stores Tuesday!

2010-05-03T12:00:00.000-07:00

Maximum Jazz is proud to announce the release of Alchemist by the group Project. Alchemist is a collaboration between Vancouver composer and drummer Mike St-Jean and electronic artist & filmographer Math Rosen. This impressive debut is full of subtle rhythms, lush arrangements and infectious moments where keys, double bass & drums explore dynamic, tonal and energetic possibilities founded on digital samples and loops.

Read Full Press Release

A MUST READ FOR EVERY PUNK-ASS KID THAT HAS STOLEN MUSIC!

2010-01-01T12:12:00.000-08:00

Brave new world
Record labels look to diversification as a way to stay viable

Bryan Birtles / bryan@vueweekly.com

Record companies are built upon a suspect business model that runs rampant in the media business. Instead of each release making a modest profit, record companies—not to mention movie studios, book publishing houses and a myriad of other, similar industries—have long relied on the massive profits of one huge hit to cover the losses of a series of flops.

This model, which endured for decades, finally became untenable in the late-'90s when file-sharing services allowed consumers to get music for free, and cheap and plentiful CD burners allowed people to manufacture their own discs. Services such as the infamous Napster clogged the networks of college dorms and the suburbs, profits declined steeply at major and independent labels, and the music industry faced a brave new world.

At first, the record companies fought back in the courts. A series of high-profile lawsuits were filed by the Recording Industry Association of America on behalf of the rights holders whom the association represents. These suits had the wrong effect: instead of scaring downloaders into submission, they often brought scorn from music fans as the most high profile of them involved the well-funded industry organization attempting to gain restitution from minors, college students and other sympathetic defendants. By late 2008, the RIAA announced it would cease to bring lawsuits against illegal downloaders and instead would attempt to work with Internet Service Providers to stem the tide.

But nothing has yet worked to get record sales back to anywhere near where they were in 1999, just prior to the atomic bomb that Napster and other P2P file-sharing networks dropped on the industry. In the meantime, labels are changing the way they do business, in an effort to keep their heads above water. Massive layoffs at the major labels and the shuttering of smaller ones has been the effect of the rapid changes to the way the industry operates, but these changes raise the question, "What is the state of the modern record label today?"

Diversification has become the buzzword in the music industry as labels attempt to capitalize on the elements of the music business that weren't their province even 10 years ago. The increased proliferation of what are known as "360 deals" in the last decade has changed the way business is done. Instead of an artist employing a different company for his or her music publishing, distribution and management, a single company will now take care of all of those elements, in addition to merchandising and concert promotion—two lucrative elements that are not subject to downloading.
"The physical product has definitely dwindled ... I'd say 50 percent over the past 10 years," explains John Dunham, promotion and marketing at Universal Music Canada. "That said, we're still realizing ways to get the bottom line taken care of through legal downloads, ring tones for phones, ring tunes. We're also branching out into merchandising and doing merch for quite a few of our domestic acts. We have 360 deals with bands like Stereos where we're covering everything from the distribution of CDs to management to booking. Those are all avenues we're taking to hopefully stay above water."
The 360 deal is an endeavour that is gaining steam amongst major labels, and the business model is working both ways, with labels starting management and production arms, and production companies—the highest profile perhaps being Live Nation—creating record labels, but having a holistic structure has long been the province of smaller independent labels like the Toronto-based Six Shooter Records.

Founded as a label by Shauna de Cartier in 2000, Six Shooter got its start as a way to put out records for the Luke Doucet-fronted band Veal—a band managed by de Cartier—which was having trouble finding the right label. Though Veal broke up, Six Shooter's first official release would prove to be Doucet's debut solo album, 2001's Aloha, Manitoba, and Doucet continues to be managed through Six Shooter's management arm. De Cartier sees plenty of advantages for both artist and label to take a holistic approach to an artist's career.

"The pie has shrunk so much in music that in order to be a priority [with a label] you need a company that works with you on a holistic level on your entire career," de Cartier says. "If you have a label that's not your management company they'll give you a push around the time the record comes out and that push might last six weeks or three months but that doesn't last for the full length of an album cycle—it might be two years until you put out another record. When those functions are intertwined, a manager works with you all the time—there's no break, it's just constant. So when you go on your third tour of a record, if your management company and label is the same, chances are that label will support that tour through marketing initiatives, whereas if they were separate companies it would be very rare for a label to support that third tour—or even a second tour."

But the changes that the Internet has wrought can't simply be fixed by labels moving into new areas of the music business—something has to be done to change the fact that sales of recorded music are too low for the industry to properly function. Sales being what they are permeates aspects of the industry that consumers think little about, and those sales have an ongoing effect on the viability of an artist not just in the short term but over the length of their career.

Dunham cites chart positions as one of the things being affected by the function of the Internet in the dissemination of new music. Whereas he used to be the one bringing a hot new single to a radio station, that station may have found the single on the Internet months ago in a leaked version and added it to the playlist immediately—an act that has a catastrophic effects on the way the industry functions.

"If radio station X adds a single from an artist two or three months earlier than we were targeting, it affects the national chart number. What we focus on is getting all the radio stations to add the single at the same time so the chart number goes up steadily, and those chart numbers affect [how] the next single from the artist [does on the charts]," he says, shedding light on the domino effect that bad chart numbers caused by the sporadic addition of a single to radio playlists can have on an album—such as record stores stocking less of it and its sales coming out flat. "If the record comes out and it only charted at a low number, people think it won't sell well."

The idea that getting into the promotional side of the music industry will save labels is also suspect as a long-term strategy as sales dwindle across genres and generations, and artists that haven't been on the road in years are forced back onto it because their back catalogues no longer generate the income they're used to—which has the effect of crowding the marketplace and stretching consumer dollars.
"The live sphere is very competitive; you have all the old people dusting off their rhinestones and getting out there and everybody having to tour," says de Cartier. "People say, 'Oh it's fine to steal music because you can always tour,' but not everybody can tour. People get sick, or they have babies, or they die and then what about their families? Touring is one aspect of making money but it shouldn't be the only one."

Copyright laws in Canada don't currently prohibit file sharing, but a new law on the table has de Cartier hopeful that things will change sooner rather than later—even if, as she notes, the proposed law only prohibits file sharing and doesn't contain any provisions for penalties for misuse of intellectual property.

"I think we're in the dark period of the wild wild west and I don't know how long it's going to take and I don't know if me and all the independent companies like me will be able to survive through this time," she says.

In the meantime, smaller local and regional labels continue to pop up, lured by the lower cost of the means of production afforded by bedroom studios and the increased competitiveness of the manufacturing sector, aided by globalization. These much smaller labels are incredibly successful on their own terms—terms which include doing what they do strictly for the love of music, with no hope of making a living off the music industry.

Founded in the Summer of 2004, Pop Echo Records remains one of Edmonton's best-known boutique labels, home to local artists such as Outdoor Miners, the Whitsundays and Tim Gilbertson. The label focuses on limited-run projects by bands it loves as well as quirky special editions through its newest venture, 99 sevens, a collaboration with music blog Weird Canada which sees an artist release a seven-inch in a limited run of 99 copies, available at one show only.

Label founders Travis Dieterman, Graham Johnson and Jeremy Franchuk started Pop Echo hoping it would resemble Factory Records in terms of its artist-friendly ethos and its success, but quickly found that starting a mega-successful label is not as easy as putting out what they thought was the hottest track on the planet and watching it sell out. Still, explains Dieterman, the label has paid for itself for six years and though the founders all have day jobs, the label provides satisfaction for its owners in addition to its value as a place to hear music not being put out by anyone else.

"We've never taken pay from it in six years. At first that was, of course, the plan, but it just wasn't a feasible thing. We went into it having no idea at all about running a record label. We thought we would put out the records, they'd all sell out and it would be easy money, but that's not so," he laments. "Starting out we thought we could be a national player, compete with Mint and Paper Bag and all those kinds of labels, but we just don't have the resources or the money to compete with that. In the last two years we've really shifted the focus of the label from trying to do big, national releases to just doing smaller, more regionally-focused releases."

That shift has meant that in the last couple of years Pop Echo has done considerably better than when it started out—though the dream of being the next Factory Records is a distant one. Still, for the three founders, the satisfaction of putting out good looking releases by artists they love is enough for them to keep going.

The majors and larger independents don't have the same luxury, however, and diversification remains the best chance for survival—apart from a sea change in both copyright laws and consumer attitudes towards intellectual property. De Cartier's hopes that this is simply a dark period for the music industry, that artists and managers and labels will soon emerge into a new dawn, remain tempered by the near-constant shuttering of labels and record stores, as well as the fact governments move slowly and change won't come tomorrow.

"The Internet is revolutionizing how we live. We're still figuring that out—it's still in its adolescence. I think as a society we will figure it out," she says, but adds, "I'm not holding my breath." V

Warning: Some of These Stats Are Really, Really Scary...

2010-01-01T12:11:00.000-08:00

DigitalMusicNews.com

As the music industry stumbles into a totally new place, the number of artists actually selling serious quantities is astonishingly low. At New Music Seminar on Tuesday, Tommy Silverman and Eric Garland rolled through a tirade of stats showing the extreme challenges that marketers and artists. Sure, the album itself is waning, but these stats are still worth examining (Nielsen Soundscan is the data source).

Albums that sold at least one copy in 2009: 98,000
Albums selling more than 10,000 units in 2009: 1,319
Albums selling more than 10,000 units in 2008: 1,515
Albums selling more than 250,000 units in 2009: 85
Albums selling more than 250,000 units in 2001: 214
Albums selling more than 5,000 units in 2009: 2,058
Albums selling under than 1,000 units in their first year of release: 92,601
Number of albums selling less than 100 copies in 2009: 81,000

The Truth About Management In The New Digital World

2010-01-01T12:00:00.003-08:00

Anybody who tells you they've got a grip on today's landscape, that they know everything, what's truly going on, is full of shit. I doubt anybody even knows all the sites name-checked in this video.

But that's the point...It's overwhelming!

Meanwhile you DIY artists out there, never forget most people start these sites with money in mind. They say they want to help the artist, but after they're helped first. Which is why they suck and so often don't get traction. Because the concept is lame. The concept is how can I get rich? Whereas if the concept is about the art, then you truly have got a chance of getting rich.

In the end the truth comes out...

The Music Must Be Good and It's All About One Fan At A Time.

Courtesy of Bob Lefsetz

Taking D2F directly to the fan!

2010-01-01T12:00:00.002-08:00

This performance of Atomic Tom was filmed unannounced on Friday October 8, 2010 aboard the New York City B Train, over the Manhattan Bridge into Brooklyn and edited from 3 iPhone cameras. All footage is performed 100% live and executed in one take.

If you like the tune, it's available on iTunes.

http://facebook.com/atomictomband
http://twitter.com/atomictom

A Few Things To Remember About Record Distribution For The DIY Artist

2010-01-01T12:00:00.001-08:00

Distributors get records into retail stores and online stores, and record labels get customers into retail stores and to visit online music retailers through promotion and marketing tactics.
Make sure there is a market for your style of music. Prove it to distributors by showing them how many records you have sold through live sales, internet sales, and any other alternative methods.
Be prepared to sign a written contract with your distributor because there are no ‘handshake deals’ anymore.
Distributors want ‘exclusive’ agreements with the labels they choose to work with. They usually want to represent you exclusively. Exception is online distributors such as tunecore.com, iTunes, CDBaby etc.
You will sell your product to a distributor for close to 50% of the retail list price. Online price for a song is set by each online store.
When searching for a distributor find out what labels they represent, and talk to some of those labels to find out how well the distributor did getting records into the various types of retailers, both on and off-line.
Investigate the distributor’s financial status. Many label have closed down in recent years, and you cannot afford to get attached to a distributor that may not be able to pay its invoices.
For traditional distribution find out if the distributor has a sales staff , and how large it is. Then get to know the sales reps.
What commitment will the distributor make to help get your records into stores. Ask them.
Is the distributor truly a national distributor, or only a regional distributor with ambitions to be an national distributor. Many large chain stores will only work with national distributors.
Expect the distributor to request that you remove any product you have on consignment in stores so that they can be the one to service retailers.
Make sure that your distributor has the ability to help you setup various retail promotions such as: coop advertising (where you must be prepared to pay the costs of media ads for select retailers), in-store artist appearances, in-store listening station programs, and furnishing POP’s (point of purchase posters and other graphics).
Be aware that as a new label you will have to offer a traditional distributor 100% on returns of your product.
You must bear all the costs of any distribution and retail promotions.
Be able to furnish the distributor with hundreds of ‘Distributor One Sheets’ (Attractively designed summary sheets describing your promotion and marketing commitments. Include barcodes, list price, picture of the album cover, and catalog numbers of your product too).
Traditional distributors may ask for hundreds of free promotional copies of your release to give to the buyers at the retail stores.
Make sure all promotional copies have a hole punched in the barcode, and that they are not shrink-wrapped. This will prevent any unnecessary returns of your product.
Create a relationship that is a true partnership between your label and the distributor.
Keep the distributor updated on any and all promotion and marketing plans and results, as they develop.
Be well financed. Trying to work with distributors without a realistic budget to participate in promotional opportunities would be a big mistake.
Your distributor will only be as good as your marketing plans to sell the record. Don’t expect them to do your work for you, remember all they do is get records into the stores.
Read the trades, especially Billboard for weekly news on the health of the industry, and/or the status of your distributor.
Work your product relentlessly on as many of the Four Fronts as possible…commercial and non commercial airplay, internet airplay and sales campaigns, on and offline publicity ideas, and touring…eternally touring!

Read full article by Christopher Knab at Music Is My Business

HOW MUCH DO MUSIC ARTISTS EARN ONLINE?

2010-01-01T12:00:00.000-08:00

Recently, the UK government passed The Digital Economy Act which included many, perhaps draconian, measures to combat online music piracy (including withdrawing broadband access for persistent pirates).

Much was proclaimed about how these new laws would protect musicians and artists revenue and livelihoods.

But how much money do musicians really get paid in this new digital marketplace?

InformationIsBeautiful.net

5 Social Media Trends Artists Need To Understand

2010-01-01T00:00:00.006-08:00

For musicians, proper marketing and networking using social media can be tough. The possibilities are seemingly endless and as such, musicians are likely to spread themselves too thin. But not all forms of social media will give you the big pay-off. In fact, some methods are a complete waste of time for musicians looking to grow their fanbase, sell more albums, tracks and tickets, and who are ultimately achieve enough success to sustain a viable career within the industry.

It is very important for musicians not to get caught up in the semantics of every new thing, yet is just as crucial to follow and understand the current trends of social media so that their efforts are not in the wrong place. Why is it important to follow the trends? Simply put, the bigger the trend, the more likely it will be that you see quicker and more significant advancements within.

The following are 5 current trends in social media that all musicians NEED to know about. Not every trend will apply to every artist, but not understanding and assessing if they are right for you is a wasted opportunity:

1) Fan-Funding Campaigns:

Finding the funding for an upcoming project can be an extremely difficult process, as more than ever before, labels are only looking to invest in artists and bands with proven high-volume sales records. Tom Silverman, founder of Tommy Boy Records, has stated that the 10,000 units (albums) sold mark is called the 'obscurity line' - upon this achievement, you are no longer seen as an obscure artist within the industry, and it is not until this point that labels will take an interest in you.

This new trend in social media is one that absolutely every musician should take a look into. Fan-funding (or crowdfunding) is the simple concept of empowering the fans to raise money for you- to FUND your project. Typically this is done through an incentive system, in which the artist will set a monetary goal, and has a set amount of time to reach said goal. There are then different levels of rewards that vary based on the amount a fan contributes towards the project.

A fan-funding campaign is an excellent way for emerging musicians to create a grassroots marketing campaign around their next passion project. But be forewarned, this takes both significant amounts of time and effort in preparation and execution. Most fan funding platforms, such as Kickstarter, Pledge Music and Rockethub, require that the entire goal be hit before the artist sees any of the money.

2) Metrics:

The internet has made it easier than ever for artists to make effective, informed decisions about who, when and where to target their audience. But a bunch of analytics/ insights start-up companies have set out to make this process even easier and effective, by giving artists the ability to obtain actionable data about their music and their fans.

Each start up offers a slightly different variation, but the goal is to supply artists with analytical data based on fanbase growth, fan engagement and/ or online music streams across multiple platforms. Many of the services can even track the geolocation of the plays and/or fans helping artists understand where their fanbase is the strongest. Tip: This is HUGE for when you are preparing your first tour. Some of the most popular music analytical services are:

- Band Metrics
- Next Big Sound
- GigsWiz
- Music Metric
- RockDex

3) Social Currency:

Social currency is the evolved idea of giving music away for free. The myth that giving away music for free would garner new fans has been (somewhat) busted, as more often than not, the music will be given away, yet the new 'fans' will never return. The exchange was off-balance.

With social currency, musicians create an even-exchange by 'charging' for their music through an exchange of a track or an album for a tangible return that will increase their reputation and reach, rather than their bank account. The most ideal choice of social currency is to exchange music for an email address (and location if possible -this will come into play next), as it gives artists a direct connection to their fans. Bandcamp does an excellent job of facilitating this exchange for artists.

Other forms of social currency that have recently become popular are tweeting for a download, and a similar idea of a Facebook wall post for a download. Both of these options have the pitfalls of being less beneficial for the artist in a long term sense, and are unfortunately seen by many as just a new form of spam. A few popular tweet-for-a-download services are Tweet For A Track and Pay With A Tweet.

4) Geolocation Marketing:

In the past year, the use of geolocation has become one of the most important advancements in social media. Through services such as Four Square, Gowalla and more recently, Facebook Places, users can 'check in', leaving an update focused on their current location rather than their current activities. While most geolocation based social networks include some form of gaming component, rewarding long-term use and excessive exploration with unlock-able badges and the like, it would be easy to overlook the benefits that these services offer to musicians.

Two of the most popular mailing list services, Fan Bridge and Mail Chimp, have both included a geolocation feature called Geo-Targeting, which allows artists to send out location specific announcements/ updates. In other words, if you have a show in NYC next week, you can send out an announcement of the show or special offer to those on your mailing list who are located within and around the NYC area.

Geolocation marketing also gives artists new opportunities for fan engagement. The idea that an artist or even the fans can now 'check in' when and where they arrived at a specific location creates new possibilities for the artist to engage with the fanbase through competitions (i.e. first 10 people to check in at a specific location gets a free album), scavenger hunts for free tickets, and even unannounced concerts.

5) Streaming Video:

The Youtube craze has been sweeping the emerging music community for quite some time now, but streaming video, through services such as UStream and LiveStream, is a trend that is just starting to explode. There are numerous ways that artists can use real-time streaming to offer additional value for fans, such as streaming live performances for fans who cannot attend, stream jam sessions or intimate acoustic performances from the comfort of their own home, or even engage directly with fans through a real-time question and answer session or even a fan request performance.

By Jonothan Ostrow of Hypebot

The 20 Things You Must Know About Music Online

2010-01-01T00:00:00.005-08:00

You’re always hearing that the music business has changed. That’s not quite true. In fact, it’s changing – and that’s quite a different thing.

Facing that change, and negotiating it as it happens, is one of the biggest challenges for independent music businesses. The best way to navigate in such interesting times is to really understand what’s going on around you, so you can adapt and respond appropriately.

You don’t have to be a computer whiz – you just have to understand some basic principles. I reckon there are about 20 of them. If you understand these, and apply their principles, you’re off to a good start in the new media environment.

1. Don’t Believe the Hype:
Sandi Thom, the Arctic Monkeys and Lily Allen are not super famous, rich and successful just because of MySpace, and nor because they miraculously drew a crowd of thousands to their homegrown webcast. PR, traditional media, record labels and money were all involved.

2. Hear / Like / Buy:
It’s the golden rule. People hear music, then they like music, then they buy music. It’s the only order it can happen in. If you try to do it in any other sequence, it just won’t work.

3. Opinion Leaders Rule

We know the importance of radio and press. There are now new opinion leaders who will tell your story with credibility. You need to find out who they are — or better yet, become one of them.

4. Customize:
A tailored solution at best, or at the very least a bespoke kitset approach to your web presence is crucial. An off-the-shelf number will almost guarantee your anonymity.

5. The Long Tail:
Chris Anderson has pretty much proved that the future of retail is selling less of more. Put everything online. Expand your catalogue. You will make more money selling a large number of niche products than you will selling a few hits.

6. Web 2.0:
Forget being a destination — become an environment. Your website is not a brochure — it’s a place where people gather and connect with you and with each other.

7. Connect:
Your website is not a promotional strategy. Learn how to tell a story, and learn how to tell it in an appropriate fashion for web communication. Think about how that could be translated for both new media and mainstream PR outlets.

8. Cross-promote:
Your online stuff is not a replacement for your offline stuff, and nor does it exist independently of it. Figure out how to make the two genuinely intersect.

9. Fewer Clicks:
This is especially true if you want somebody to part with their money. If I have to fill in a form, navigate through three layers of menu and then enter a password, I don’t want your music any more.

10. Professionalism:
If this is your business, you need to be businesslike. Treat your online profile the same way you would treat any of your business communication.

11. The Death of Scarcity:
The economics of the internet is fundamentally different to the economics of the world of shelves and limited stock. You can give away a million copies of your record in order to sell a thousand.

12. Distributed Identity:
From a PR perspective, you are better off scattering yourself right across the internet, than you are staying put in one place. Memberships, profiles, comments, and networks are incredibly helpful.

13. SEO:
You need to understand how Search Engine Optimisation works, and how you can maximise your chances of being found. Be both findable — and searchable.

14. Permission:Your message must be welcome, relevant and personally useful. Letting people choose to engage with you is a far more effective targetting strategy than spamming them.

15. RSS:
Provide it, use it and teach it. RSS is the single most important aspect of your site. Treat it as such - but remember it’s still new for most people. Help your audience come to grips with it.

16. Accessibility:
Not everyone has a fast computer or high speed access. Not everybody has the gift of sight. Make everything you do online accessible. It’s easy to do, it’s important, and it stops you from turning people away at the door.

17. Reward & Incentivise:
Everything is now available all of the time. Give people a reason to consider you as part of their economic engagement with music.

18. Frequency is everything:
Repeat business is one of the most successful commercial strategies in the cultural industries. You want people to come back? Give them something to come back to that they haven’t seen before.

19. Make it viral:
Whatever you do, make it something that people will want to send to other people. Your best marketing is word of mouth, because online, word of mouth is exponentially more powerful.

20. Forget product — sell relationship:
The old model of music business is dominated by the sale of an individual artefact for a set sum of money. The new model is about starting an ongoing economic relationship with a community of fans.

Andrew Dubber, New Music Strategies

Why Piracy Actually Does Affect Concert Prices...

2010-01-01T00:00:00.004-08:00

"so if you want ticket prices to go down stop stealing music."
@irvingazoff, Aug 3rd.

Skip the Twitter fireworks and ridiculousness for one second. And there's plenty ahead. But Irving's opening Twitter salvo makes a good point. Because the concert industry is suffering partly because of piracy and its resulting havoc on recording sales.

Turns out that the seemingly-separate subdivisions of the music industry are actually quite interrelated. Often scarily so, and the sinkhole happening in recordings is actually dragging areas like publishing and even touring with it. This is a body with highly interconnected organs and appendages.

Once upon a time, the thinking was that artists would simply make their money on the road, by delivering a unique and controllable experience. Forget about the recording, that was so easily duplicated, stolen, and devalued. But the live performance! That's where the unique, one-of-a-kind experience happens, the memory of a lifetime. So artists were urged to simply give away the recording, jump in the van, and enjoy the fruits of a tweaked model.

Except, every artist embraced this advice. And, artists started leaning disproportionately on touring to generate more and more revenue. This is partly why they demand such a huge cut from the ticket price!

Oh, and then the Great Recession put the accelerator on the entire mess. Artists needed more cash, but fans suddenly had much, much less. Get the picture?

And this is not just about the biggest touring artists, Irving's roster. Labels used to give developing artists touring support, to work the chops and stimulate local followings. And, smaller independent or unsigned acts could stuff themselves into a van and struggle from gig to gig.

Actually, that of course still happens, but a critical moneymaker is now subtracted from the equation. Namely, the CD. Yes, it turns out that the album freefall has had a huge impact on merch table revenues. Once a small-but-meaningful purse for otherwise starving artists, the decimation of in-venue CD sales has switched the touring math considerably.

So, is piracy responsible for higher ticket prices? Like most things in this industry, the answer is quite complicated. But the devaluation of recordings is factoring into the current concert crisis more than it would seem.

But outside of a time machine, the solutions are limited. The file-swapping kitty has been out of the bag since 1999, and its milk long since spilled. This is not an issue Live Nation can solve, but ticket prices (and service fees) must be adjusted nonetheless. That's the market today, and that's what Irving and Live Nation can actually control.

Paul Resnikoff, Publisher, DigitalMusicNews.com

The Great Music Marketing Void...

2010-01-01T00:00:00.003-08:00

Artists have enough hammers and nails to build a mansion. But where are the architects, the developers, the people who used to sit in marketing and A&R development departments at the labels? The answer is they've been fired, went back to law school, switched to a different industry, or are now just listening to music for fun.

Welcome to the great music marketing void. Mike Doernberg at ReverbNation got in front of artists recently at New Music Seminar and doled out endless pearls of wisdom. This is one of the experts, but Doernberg can't hold your hand the whole way. In fact, Doernberg himself calls DIY 'crap,' as bluntly as that.

And doesn't that say it all? The guy who would love nothing more than to create a magical marketing button is telling artists that ReverbNation is simply a distribution tool, not a marketing brain. And that was echoed throughout the event.

Ariel Hyatt may have been preaching "1,000 True Fans," but that sounds like one lonely lottery ticket. Instead, most regarded DIY as an early-stage vehicle out of abject obscurity, at best. A more developed career involves serious marketing pros, real resources, and sharing the resulting profits with musical and marketing partners alike. Everyone is taking a risk, and putting a lot on the line, and mostly likely, suffering along the way. And even then, the chances of serious, sustaining success are slim.

Say what you will about the label system. But labels - both major, major-distributed indie, or pure-play indie - specialized in developing marketable artists and songs, and then selling the resulting content (mostly albums) for a profit (imagine that). They were critical to the marketing ecosystem, and created downstream successes for everyone else to enjoy.

Of course, there are a million problems with a label contract - big or small - but at least there was a division of labor and an infrastructure for making an impact. There was investment. And every so often, it really worked. At its best, a good label would allow an artist to write music, tour for free, and enhance the lifestyle and imaging aspects that are oftentimes critical to connecting with audiences. In other words, specialize.

But who are these marketing pros today? Well, there are actually plenty of brilliant people who are trying to make sense of it all, including managers, remaining label people, and even publishing groups. There are incredibly smart people trying to re-engineer the upside-down economics of the modern-day music industry. And, trying to pluck that rare, talented artist and actually create a real success story.

And what a strange time to be one of those talented artists! On one hand, direct-to-fan platforms offer the ability to reach out and touch fans. How liberating! But typically, the discussion ends with a paltry check from CD Baby - or ReverbNation, TuneCore, Bandcamp, or whomever. And this includes seriously talented groups. There's just too much competition, too much noise, too much media saturation and distraction.

But there's also a business rebuilding itself, and slowly figuring out how to develop serious artist careers. This is not about sticking it to the man, uploading content onto iTunes or playing a corner coffeehouse. This is about rebuilding an entire marketing infrastructure, a totally new set of best practices, and making the numbers make sense again. And for those willing to struggle through the disruption, this is also about serious opportunity - to fill the great music marketing void.

Paul Resnikoff, Publisher @ DigitalMusicNews.com

Make A 360 Deal With Yourself

2010-01-01T00:00:00.002-08:00

As we have seen, there are many different ways to make money in music today. In the past few years, much has been said and written about the 360 degree deal, where an artist/writer enters into a business partnership with a company and gives the company lots of rights to recordings, songs, merchandise, and touring, usually in exchange for a larger advance.

My advice to you is to make a 360 degree deal with yourself and find ways to generate revenue from your writing, performing, brand, activities, and interests that suit you and what you stand for. DO NOT license these rights away to any one company, even if it waives a huge advance in your face. You do not want to be dependent on any one entity for your livelihood, other than yourself. If you make the 360 degree deal with yourself, you can then selectively find the right partner to help you exploit the various revenue streams that you have by focusing on each stream individually to maximize its potential.

The other reason to make a 360 deal with yourself is that you want to integrate the marketing and promotional efforts across all revenue streams. The artist/writer and their manager should coordinate the marketing efforts to maximize revenue and to gain the broadest possible exposure from advertising, publicity, public relations, direct marketing, interactive marketing, etc.

The new 360 deal:

Own your masters and publishing
Purchase the services you need
Use and integrated marketing approach
Create multiple revenue opportunities
Control your career

Learn more at Music Power Network

What is the Artist Manager’s Role in Today’s “D.I.Y” era?

2010-01-01T00:00:00.001-08:00

D.I.Y. / Do It Yourself.

For many independent artists, the D.I.Y. option is chosen either by design (because they are perfectly happy and capable of doing things without a manager or label) or by default (because they are unable to attract the attention of a manager or label). Either way, artists have lots of help getting things under way.

In this D.I.Y era, dozens of fan relationship management resources like Reverbnation and FanBridge, among others, are marketed to artists as tools that enable them to engage with fans in a more direct and meaningful way. Sites like GigMaven and Sonicbids enable artists to pitch directly to venues and book their own tours. Resources like Sellaband, Pledge Music, Kickstarter and others enable artists to raise money for recordings, videos, tours, and more. Music libraries and licensing agents (like those found at Music Library Report) offer assistance with music placements in Film & TV productions. Digital distributors like Orchard, CD Baby, Tunecore, IODA and others offer musicians a means to distribute their music directly to fans via iTunes, etc. Social media networks (Twitter, YouTube, Facebook, etc) make it possible for artists to handle publicity duties themselves.

So, with all these resources available to artists, what exactly is the artist manager’s role in today’s D.I.Y era? With fewer artists interested in record deals today, a managers’ role has evolved away from choosing which labels/agents/publishers/attorneys to work with, towards finding ways to best help artists increase their fan base and generate more income.

The manager’s role in the D.I.Y age is less that of an advocate and cheerleader, and more that of an analyst and advisor. The division of labor in the artist/manager relationship is for artists to concentrate on writing and recording songs, rehearsing and performing live shows, and growing and engaging their fan base; while managers analyze data and make strategic recommendations based on the information gathered.

Using resources (often in combination) such as Band Metrics, RockDex, Big Champagne, Next Big Sound, Band Camp and others, artist managers analyze data to help figure out things like:

which of the artists’ products sell the most (downloads, physical products, custom items, tickets, subscriptions, etc), and which sell the least and perhaps should be discontinued
what new products can be added and which new revenue streams can be exploited
which pay models work the best (fixed price, pay-what-you-want, donations, bundles, etc)
which campaigns are the most effective (virtual street teams, newsletters, videos, chats, vlogs, blogs, etc) and which ones generate the most feedback and results
which calls-to-action are the most effective (e.g., sign up to the mailing list for a free download, pre-order a limited edition, autographed CD, etc)
what trends or patterns are developing, and how to best take advantage of them
which platforms/widgets are most useful and relevant for a particular artist (review demos and sign up for trials to find the best fit)
which songs, videos, images, t-shirt designs, etc, resonate with fans the most
who the artists’ “super fans” are, and how to leverage that relationship to generate more sales
which questions to include in polls to figure out what the artists’ fans want
which ways do fans most wish to engage and interact with the artist
what actionable information can be extracted from comments and feedback from fans and listeners
where are fans clustered and what are the best ways to route a tour
what does the data reveal that will result in an increase in sales and income
what are the true costs of the artist’s operations (i.e., what is being earned vs. what is being spent)

And much more.

While artists can perform many of these tasks themselves (and indeed many do), doing all this alone along with writing, rehearsing, recording, performing music, touring, and interacting with fans will leave them very little time to do much else, and will often cause them to burn out and/or get discouraged when things (as they very often do) don’t go as planned. The managers’ role is to do much of the “dry” analytical work that helps to chart a course for the artist to take, while leaving the artist to create and perform music and engage with the fans.

As an artist manager, however, it is important to keep in mind that there is more to the “business” side of music than what these resources alone offer, and while all these resources, widgets and apps help to reveal a strategy; they are not in and of themselves THE strategy. It is up to the manager to have a deep understanding of how things work in the music business, and along with access to the best available resources, formulate the appropriate strategy for the artist to follow.

A manager’s role today must be to contribute more to the artist’s career and financial bottom line than the artist can do alone or with the help of fans, friends, and family members. Without such a contribution, the managers’ role will fade into insignificance while artists do it all themselves (even if they don’t necessarily do it all alone).

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Jeremy Rwakaara is author of the Artist Management Manual, director of the Artist Management Resource, and founder of the Indie Managers Association.

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©Copyright 2010 Jeremy Rwakaara

DYI is not DTF, and DIY has its limitations

2010-01-01T00:00:00.000-08:00

This week's New Music Seminar was an absolute overload of information for attendees, a large percentage of whom were aspiring artists. The tips were flowing strong, and those taking notes probably have a year's worth of information to sift through. In some ways, "you had to be there," but there were some important themes that should not be missed - by artists, labels, marketing teams, managers, and everyone in-between.

Here are five to ponder...

(1) DYI is not DTF, and DIY has its limitations.

DIY - or 'do it yourself' marketing for the uninitiated - was widely viewed as an early startup approach during the sessions. ReverbNation CEO Mike Doernberg called pure DIY "crap," though at the earliest stages it can help an artist get some initial traction. "The DIY problem is that people think it's DIY for life - it's not... you cannot do it yourself," said Steven Van Zandt. "All the best records ever made were made by an army of people."

By contrast, DTF, or direct-to-fan, is highly related but ultimately something different. The marketing team surrounding Amanda Palmer, for example, is going direct-to-fan. But Amanda is not doing it all by herself.

(2) Consider Consolidation.

When looking for a direct-to-fan partner, consider the advantages of putting multiple services under one roof. The reason is that different platforms and initiatives are frequently interrelated, and harder to analyze independently. For example, a package that includes analytics, store distribution and email management can provide lots of coordinated intelligence that would be harder to understand independently.

So, the one-off widget can be isolating. Then again, more developed teams and labels can easily 'roll their own' and do the analysis and strategy on their own. But someone is coordinating and analyzing the bigger picture, not swimming in the flotsam and jetsam of disparate partners and services.

(3) Control Is Good: Think More Data, Better Cuts, More Flexible Pricing.

Artists have more control than ever over transactions with their fans. But, the preferred transactions are ones that give artists the most data, the best percentages and the greatest pricing flexibility. So, while artists are wise to put their content on iTunes, the better sale happens on the artist site.

(4) Quality Is the Beginning of the Conversation...

You've heard this one before, though it was the source of considerable discussion at the event. Amidst all the marketing tips, platforms, and strategies, the assumption throughout is that the music is something people really want to listen to.

There was a wide range of opinion on the matter. The definition of quality is incredibly subjective, though most agreed that the real judges are fans. Either they're reacting and nodding their heads, or they're not. And once the judgement is made that the music is great, fans become evangelists as a rule.

But what resonates? Just Blaze urged artists to focus on originality, while making sure all the creative juices are still accessible to audiences. He also urged artists to "focus on one lane," and focus on their strongest genres or styles.

Steven Van Zandt told artists to focus a lot more on their creative process and musical chops. That means putting activities like arranging, composing, and performing before recording and instant-uploading. Little Steven also urged artists to dig into the roots of their music - 50s and 60s for rock n' roll, early 80s for hip-hop - and to work out the kinks at a smaller venue. "The closer you get to the roots, the better your expression will be," Van Zandt said.

(5) Consider "FQ," or the "F*&k-ability Quotient"

So who won the NMS band competition? Hotspur, a group of great-looking guys with lots of sex appeal. Or, as Kelly Cutrone referred to it, "FQ" for or the "F*&k-ability Quotient". "Hotspur has FQ in spades," Cutrone quipped to the delight of the crowd.

Sounds hilarious, but Cutrone correctly noted that some of the most successful acts in history - from the Rolling Stones to the Jonas Brothers - appealed to girls based on great looks and on-stage charisma. So what was that about quality again?

DigitalMusicNews.com

For Immediate Release :: Angela Harris Receives 4 Nominations at 2009 BCCMA Awards!

2009-10-01T12:00:00.000-07:00

Maximum Music Group together with EMI Music Canada is proud to announce Angela Harris has received nominations in the following four categories at the upcoming 2009 B.C. Country Music Association Awards (BCCMA).

Full Release

NEW ALBUM FROM ANGELA HARRIS IN STORES TODAY!

2009-04-28T18:22:00.000-07:00

For Immediate Release

NEW ALBUM FROM ANGELA HARRIS IN STORES TODAY!

Tuesday, April 28, 2009 (Vancouver, B.C.) – Maximum Music Group together with EMI Music Canada is proud to announce the release of Is Your Life As It Should Be the first new recording in over three years by acclaimed singer-songwriter Angela Harris.

Showcasing her at the height of her creative prowess "Is Your Life As It Should Be" is Angela's most moving and emotional collection of stories to date. All ten masterfully told and written tracks on this impressive new release are penned and co-produced by Harris and her longtime creative partner, the sought after engineer, Eric Reed (Tillers Folly, Ridley Bent, Wyckham Porteous).

Available in stores nationwide across Canada on Tuesday, April 28, Is Your Life As It Should Be will also be available for digital download at iTunes and all other major e-tailers worldwide.

Supported by a group of master musicians including Mani Nassefat, Craig Alan Mack, Tom Carter, Bruce Coughlan and Mike Sanyshyn, Is Your Life As It Should Be offers messages and stories of everyday people, in their everyday lives.

A simple and honest delivery recorded live off the floor, confirming Angela Harris as one of Canada's most treasured artists.

Angela has garnered 4 charting singles, 6 British Columbia Country Music Association (BCCMA) nominations and a West Coast Music Award (WCMA) nomination for Outstanding Roots Album.

The Critics Speak about Angela Harris:

“Angela Harris is blessed with a strong and honest voice and a way of stringing words into compelling personal vignettes that illuminate the corners of an interesting life." - Toronto Star

“Her voice is smooth and thick as molasses" - FFWD

“Angela Harris is more in line with the folkish likes of Lucinda Williams and Emmylou Harris (no relation)......intelligent, homegrown country that hasn't been soiled by pop over-production, Harris deserves attention.” - Winnipeg Free Press

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Web Links:

Angela Harris: http://www.myspace.com/angelaharris
Maximum Music Group: http://www.maximummusicgroup.com
EMI Music: http://www.shopemi.com
iTunes: iTunes

About Maximum Music:
The Maximum Music Group is a full service music marketing company based in Vancouver, Canada. Our award winning artist management and label divisions have released albums and overseen the careers of some of the most respected acts in music today including Angela Harris, Honey And The Money, Metalwood, Brad Turner, Zubot & Dawson, Jim Byrnes, Denzal Sinclaire, Randy Bachman and The Guess Who.

Maximum's artists have been recognized with:
- 6 Juno Awards
- 9 National Jazz Awards
- 6 Western Canadian Music Awards
- 5 Canadian "Indie" Music Awards

For Immediate Release :: Brad Turner Multiple Nominee At 2009 National Jazz Awards

2009-04-07T12:00:00.000-07:00

The National Jazz awards have released its list of nominees and Maximum Jazz is proud to announce that jazz artist, composer and producer Brad Turner has received a total of four nominations in the following categories;

- Trumpeter of The Year
- Instrumentalist of The Year (All Instruments)
- Acoustic Band Of The Year (Brad Turner Quartet)
- Producer of the Year

Full Release

For Immediate Release :: Brad Turner Quartet nominated for Traditonal Album of the Year at 2009 Juno Awards

2009-02-04T12:00:00.000-08:00

Earlier this week CARAS and the Juno Awards released its list of nominees and we are proud to announce that Vancouver's Brad Turner Quartet together with their latest release Small Wonderhas received a nomination for Traditional Jazz Album of the Year!

Full Release

Honey And The Money release ambitious and stunning debut

2008-09-23T22:07:00.000-07:00

- For Immediate Release -

Honey And The Money release ambitious and stunning debut

Tuesday, September 23, 2008 (Vancouver, B.C.) – Maximum Music Group together with EMI Music Canada is proud to announce the release of The Elephant In The Room the ambitious and stunning debut long player by Vancouver based duo Honey And The Money.

Produced & co-written by Jared Kuemper (Sheryl Crow, Jann Arden, Jessie Farrell, Tegan & Sara) The Elephant In The Room is full of lush harmonic textures laden with rich pop melodies and advance press states that "Honey and The Money has "hit all the right notes in this remarkably cohesive collection of bright pop-rock, weaving together all the best aspects of pop music to create a beautifully fresh sound giving you everything you could want in a pop record".

Available nationwide across Canada, Tuesday, September 23 via the Maximum Music imprint and EMI Music, The Elephant In The Room is also be available for digital download at iTunes and all other major e-tailers worldwide.

When Honey And The Money (aka. Leila Harrison and Matt Clarke) started playing music together six years ago, Matt was finishing theatre school and Leila was busy acting and had never sung publicly. Over the ensuing years, as these pop tunesmiths carefully carved out a sound and found a voice unique to themselves, Honey and The Money took form. Fast forward to today and after two years in the making Honey And The Money make their major label debut and The Elephant in the Room full of hooks, soaring melodies and compelling lyrics is released to impressive acclaim right out of the box.

Press:

“Honey and the Money (Leila Harrison and Matt Clarke) hit all the right marks in their debut album, The Elephant in the Room. Harrison's voice is soothing and seems to come effortlessly, with a soft hint of country. Melted with Clarke's vocals, the duo has established an album that flows eloquently.” - The Peak

“A remarkably cohesive…bright pop-rock collection, Leila Harrison sings so sweetly, she must be Honey.” - The Province

“Sweet music with rich lyrics...Harrison does noticeably resemble Kelly Clarkson, butt hat doesn’t mean Honey and the Money is strictly conventional pop fare. Their new album sports a mix of sounds and genres, utilizing everything from guitar heavy Clarkson-like ballads to more subdued tracks with electronic beats reminiscent of the Postal Service." - Langara Voice

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About Maximum Music:
The Maximum Music Group is a full service music marketing company based in Vancouver, Canada. Our award winning artist management and label divisions have released albums and overseen the careers of some of the most respected acts in music today including Honey And The Money, Angela Harris, Metalwood, Brad Turner, Zubot & Dawson, Jim Byrnes, Denzal Sinclaire, Randy Bachman and The Guess Who.

Maximum's artists have been recognized with:
6 Juno Awards 9 National Jazz Awards 6 Western Canadian Music Awards 5 Canadian "Indie" Music Awards

Web Links:
Maximum Music Group: http://www.maximummusicgroup.com
Honey And The Money: http://www.honeyandthemoney.com
EMI Music: http://www.shopemi.com

For further information or to request your review copy please contact:
Brian Watson, Maximum Music Group
Tel: 604.671.6234
Email: Brian.Watson (at) MaximumMusicGroup.com

MAXIMUM MUSIC GROUP GOES DIGITAL

2008-06-25T15:22:00.000-07:00

For Immediate Release

Award winning label and artist management company launches exclusive digital
download label & imprint.

Wednesday, June 25, 2008 (Vancouver, B.C.) – Maximum Music Group the award winning label and artist management company launches exclusive digital download label & imprint, Maximum Digital, with the release of "Dirty Dubs" by internationally acclaimed drum & bass DJ, James "Trek-e" Smith. Offering single downloads and full length albums exclusively at MaximumMusicGroup.com, MyMaxCast.com and all other major e-tailers worldwide. The release of "Dirty Dubs" marks the beginning of an ongoing series of releases expected for 2008 and, in the process, reaffirms Maximum as an industry leader in modern music marketing, discovering new and innovative ways to connect, promote and deliver artists and their music to the world. In addition, and staying true to the company's progressive "Artist First Initiative" all of Maximum Digital's artists will receive full marketing support and retain 100% ownership of their masters with all royalties split on a joint venture basis between the label and the artists.

Maximum founder Brian Watson states, "The launch of Maximum Digital is the realization of a major corporate milestone for us in becoming a full fledged 360 degree music marketing company. Of particular excitement is with the addition of Maximum Digital to our label group comes a powerful artist development resource for us like never before. Maximum Digital is not a sign that we are moving away from traditional record sales and the labels Maximum Music and Maximum Jazz continue to release award winning and critically acclaimed albums worldwide, but rather, an opportunity for Maximum to offer more choice to both new artists and music consumer alike."

# # #

About Maximum Music Group Inc:
Maximum Music Group Inc is a full service music marketing company based in Vancouver, Canada. Our award winning artist management and label divisions have overseen the careers and released albums from some of the most respected acts in music today including Metalwood, Brad Turner, Zubot & Dawson, Jim Byrnes, Denzal Sinclaire, Randy Bachman, The Guess Who and many others.

Maximum's artists and projects have been recognized with:

6 Juno Awards
9 National Jazz Awards
6 Western Canadian Music Awards
5 Canadian "Indie" Music Awards

Web Links:
Maximum Music Group :: http://www.maximummusicgroup.com
MyMaxCast :: http://www.mymaxcast.com

For information please contact:
Brian Watson, Maximum Music Group
Tel: 604.671.6234
Email: Brian.Watson (at) MaximumMusicGroup.com