A track called “Movies From the 80s”. Heavy on the Juno 60; classic 80s synth. Probably used in every movie made between the years of 1981 to about 1985. Then the DX7 came along and stole its crown.
For summer 2016. After much deliberation, a cover of last years track.
“The Sound of Tubes” nearly made it, and probably didn’t because I strove hard to maintain the integrity of the sound of the pre amp I used to record it. A reel to reel recorder from 1956. Yeh, not a great idea to get something past corporate, but hey, the pre amp just sounds too good. And Old Man Winter, my upright piano, sounds like a champ, too.
This also just found a home in Drive, She Said. My friend Alicia Angeles on the vocal mic. I did offer to do a ‘clean’ version of this, and also to give it a clean title, because, after all it is an Ashley Tisdale movie. I’ve written music for her before and she’s covered a couple of my tracks, and her fanbase are all minors. No dice, though. Well, maybe they’re going to use a bit of the track that has no cussing. If they can find two seconds that has no cussing in it, that is. Still, nice placement. Thanks Andy.
This just got another media buy.
I will never do another WFH (work for hire/buy out) on a commercial again. Or anything else for that matter. (Negotiable). This company has made full use of that wfh contract by running this consistently for FIVE years! In my spare time I play the stock market and I know how much these pharmas make. Shame on them. But, thanks for the AFM. And at least the music house couldn’t take half the publishing.
This just re-licensed for another six months.
I have a lot of tracks in my library. 3000 or so, and growing. I have just a few select companies that have copies of that library. What are the chances of two companies choosing the same track within a few weeks of each other, to be aired simultaneously? Yes, it happens. Rooms to Go (the Sofia one) were a little unhappy, and the music house that placed it were seriously unhappy, obviously, but it still got picked up for a second round. Disaster averted. The cheese company, below, either didn’t know, or didn’t care. They put David Cock in the commercial so I’m going with the latter. FYI, the only way it would have been breach of contract would have been if another cheese company had used the track. This was definitely in the back of my mind when I took the money and ran/ (crossed my fingers). It was my secret ambition to have both air on the same network in the same breaks, back to back. (LOL, no it wasn’t). It was a tight corner, I hate to say ‘no’ and if it had been a proper demo situation there is no way this would have happened. Companies using libraries have to accept this risk. Or, do an exclusive deal.
Nice way to end a Friday afternoon. My favorite Music House in Chicago just sold “Late”, again. Jim’s sold this several times. I don’t know what it’s for this time, and I really don’t care. And strangely I don’t have an instrumental of it, so Jim’s been selling the vocal version and I think they use the instrumental bits in the track. I should think so too, cause it’s a really sad song. Good mix, though, and a great drum track from Ravi. Oh shit, that reminds me, I’ll have to cut him in. Damn, haha, cause I’m thinking about buying this: Ferrari Modena with custom fiber glass bass box housing 3 subs. A pimp ass stereo on white chrome wheels in other words.
And this is from way back, “Late” again, for Bank of America. 2008, I think, yeh, just after the crash, so banks were trying to be endearing and… ‘yes, we understand your pain, and we care, and your debt is safe with us’. Whoever the supervisor was, on this, was spot on, cause this track is about extreme loss. No joke.
I rarely do radio spots. In fact I think I’ve only ever done one radio spot and I can’t remember what is was, so maybe I didn’t. Anyway, just this last weekend, an Old Navy Back to School commercial. “Instant” got it, but “Dance Track” was the agency’s pick, which the client thought was too upbeat, or loud, or something. With that in mind, I should have submitted “Aug Beat 05 r2” and “Aug Beat 06”, a new thing I’m working on, House Trap, which is Trap at House Tempo. Or Trap with House sensibilities. Aug Beat 05 is going to be a track called “Beetle Bonnet” I think/maybe, we’ll see if Rei makes it over to the studio to lay down the Brazillian vocal bits. I have recently discovered that Brazil and England both use the term, ‘Beetle Bonnet’, and I’m pretty sure I’ve never heard it used in America. So……well, whatever. However, Aug Beat 06 sounds way better. On a laptop anyway.
I must have missed the release of this, (I’m sure a lot of people did) but, once again, to show off the talents of my Beverly Hills mate Matt Kahn. This time singing in Spanish, his translation of a song written 22 years ago by my old room mate/flat mate Jamie Flynn called “Dreamer”, which for some reason, as I do now think is a fuckin awesome song. “Soniando”. I think it was used in a restaurant scene. In fact, I don’t like the production much. Skip it. Matt sounds good though.
Now this has been out for a while and is now on Netflix, I think it’s okay to put it up here, and it doesn’t give away any jokes, so it should be safe, BUT, you are going to want to turn it off at around 2 min. Trust me.
There’s a cue missing from the above .MOV file, no idea why, but here’s the vocal version of the track in the cue. This version went on the soundtrack and has my Beverly Hills buddy Matt Kahn, doing a rap in full London cockney, with all the correct intonations, especially “get the fuck up”, and it’s funny, because he’s LA born and bred. His ‘artist name’ for this is Winston Cartier and it is entirely his invention. On top of my track The Grind, which was used in a ‘character does mad things in the middle of the night’ scenario. Also on the soundtrack album, but not used in the film, “Hey Now” from my good friend, James Langford, who’s straight outa South Central and is one of the sweetest guys you could ever meet. And, by far, the best rapper I know. Ah the injustice of this world/industry. Soon come.
Originally done for the U.S. where it played, like, forever, now I’m getting royalty statements saying it’s playing in the U.K. Seven Years after me and Jay sat in my bedroom studio… me with a Mandolin and he with a Ukelele (or it might have been the other way around) and just bashed it out along to the movie file a couple of times. This was one of three Pedigree commercials I did with Fitz from Fitz and The Tantrums. Yes, the guy from Fitz and the Tantrums used to do Pedigree commercials. Awesome.