Chain Me Free

In 2001 I was unemployed.  I left my last job and was depressed.  I got into the music business because I was such a fan of music and had no musical talent.  I was just really good at listening and liked to share music with people.  A&R was my way of doing just that as a job, but beyond a mixtape turning friends into bands already out, I could now “discover” artists that hadn’t broken through and I could work with to take it beyond a mixtape… take it to the world.

But after 10 years of living my dream job, it started to make hate music… so after my last job, I walked away when my contract was over.  I thought it was over.  At that time in Los Angeles, there was a need for teachers and there was an opportunity to take a test and by passing it, you would be granted an emergency teacher credential… I loved teaching, so dove into that… it had been over 10 years since I had been in school or thought of any of the things that would appear on a test for teaching.  I ended up enrolling in a class that was given on weekends at California State College.  It was a 6 week class and I’d drive over every Saturday to dive into my next career.  I would drive in silence.  I used to drive listening to music.  But at this point, nothing sounded good.  Silence was magic.  At the end of the course, I took the exam and passed.  I got my credential and signed up for substitute opportunities… I would call in ever morning at 7am

And see if there was a place for me.  Some weeks I’d work 5 days, some weeks maybe once.  The service I worked with only did private schools and I was available for Kindergarten through 12th grade.  The service also took a chunk of the pay out, so a full week paycheck was not a very livable wage. Especially coming from the music industry.  I was lucky that over the years I was doing well, I never lived beyond my means and put away money for situations just like this.  The saved money helped cover what the job was shorting me on financial responsibility. 

Substituting taught me a lot.  I learned about kids and milestones, I learned about how easy it is to lose a kids attention when teaching something they didn’t care about… I also learned that it’s so easy for teachers to have burn out.  But, I also learned that at the end of the day, you could have made a difference in someone’s life.  Parents would thank you for something you said or did that their child told them about.  A feeling I hardly ever felt from being in the music business.  If something did well, the person responsible was the last to get the credit.  A “thank you” wasn’t going to happen, so you learn never to expect it.  So when I’d get one, I had no idea what to do with it.

Being in private schools, I would see people I worked with dropping their kids off and would have to hide to avoid the “what are you doing here” an the look of “poor guy” that you know was going to come if face to face.   Kids of famous people, who are now big executives, actors, musicians.  Great kids when I had them in a class and I can only hope they still are.
It was a rewarding gig and I loved it.  Again, It wasn’t making ends meet, which really increased my admiration of teachers and all educators.  What was a bonus is that I would drive to my assignment and started listening to music again.  I was enjoying it like I used to. Would make a mix cd and just be back to what I loved.  This was a huge breakthrough as everything I had listened to up to that sounded like white noise.  I couldn’t tell if anything was good anymore.

The other thing that happened over that time was I wanted to go see shows again.  That had been something I did on the regular since I was 13 in NYC, but lost the desire. But much like not wanting to run into the parents of the kids at school drop off, I didn’t want to go to shows and run into friends that were still at it.  I didn’t want to have to answer “what are you doing”… which is the 1st question asked in LA.  Status is everything.

So I decided to go to where I would t run into people.  One of those places was leaving LA, getting on the 5 to the 91 and exiting on Lincoln Ave, making a right and a left on Lincoln and pull into the strip mall parking lot.  Chain Reaction.

I first heard of Chain Reaction from a young assistant for an agent, who was one of the biggest go getters I had met.  I have always been just as interested by the next agent, A&R person, manager, label in the making as I have about the next band.  I befriended her and couldn’t have been happier to go to shows with no job, no reason other than seeing music with people that were just working their hustle to get a move forward.  Today, Corrie Christopher is everything I knew she’d be and more.

Going to Chain Reaction was the same as teaching.  A room full of innocent, happy people in a community away from parents and living and creating an identity for themselves. That was the bands as much as the audience.

I was used to going to see bands that had a manager, a lawyer or some kind of buzz.  A full room of industry people looking around the room reading reactions to see how they should be reacting.  The more industry people in the room, the higher the deal… 2 songs on a demo tape and 45 minutes of forgettable songs.  Not Chain Reaction.  Chain Reaction was the physical version of MySpace.  Where people could meet in person and share common interests and experience things together beyond a computer.

Chain Reaction was a packed room from doors to the ending.  No alcohol, just a candy stand, walls lined with t-shirts of bands that played there, $10 tickets (or less) for a night of fun and community.  And a room full of kids singing every word of every song… bands whose names you never heard, but they sure as hell did and were committed to this new scene. Well, new to me.
This was 2001.  In September of that year, the world would change.  Innocence would be lost and a refuge for escapism would become the Emo Scene… there were no major label Industry people within 5 miles of it and it was beautiful.

When going to this venue, I got to meet some people who I still am friends with today.  First, Jon Halperin (who just texted me today and I love and we were born on the same day, same year).  Booking shows, working the box office and the best host you would ever meet. Genuine music lover and kind. Kevin Knight aka theScout.net, working the door, cleaning up after shows, another true music lover who was hungry to take the next step,  Chad Pearson co owner of indie label The Militia Group.  Fresh off a stint of working at Tooth and Nail Records and taking it all on to start from scratch.  All people I would get to know and remain close with some even today.

Jon was doing just fine.. putting on shows, hoping to be a stepping stone for so many of these amazing bands coming through. He made Chain Reaction the venue that would welcome and host bands that weren’t big enough for LA and guaranteed a place for kids to go.  A always loved the email address for Chain Reaction was www.allages.com … you couldn’t describe the club any better.  Bands loved playing there, it was a built in audience.  People came for the community and for the scene. You couldn’t buy what was happening there.  

Kevin started his website www.the scout.net and would make mix cds and try to get them to industry people.  I took notice of him and he was the portal to the scene of anyone who would pay attention, Hands down. Nobody was paying attention at the time, trust me.

Going to see bands and meeting Chad, I started listening to the recordings The Militia Group was putting out.  Noise Rachet, Rufio and The Beautiful Mistake, who I would end up managing and am still very close to.  Chad is not only a visionary, but he’s one of the kindest people out there (see a pattern at Chain?)… too nice for what the business can do to you.  I remember him being legitimately “honored” that I would take his call or talk to him about his label and the business.  I was less of a big wig and more of a Farmer Ted.  I would give advice, they were doing better than anyone could in that scene, since they lived it, but when it came outside of their bubble, they were deer in headlights.  I remember they didn’t have a lawyer and I hooked them up with my pal Doug Mark, who was the attorney for Epitaph.  If anyone would know how to work with an indie, it was Doug.  I also made an introduction and got the wheels in motion for The Militia Group to get a distribution deal with Sony.  I still was unemployed and loving it.  

It was at Chain Reaction where I fist saw a bad called Death on Wednesday.  A bad that was one part The Smiths and another part Social Distortion.  The bad was good, but I didn’t love them.  But there was one stand out…both as a musician and also as a person.  His name was Jorma Vik, and he was the drummer of Death on Wednesday.  We became friendly and I remember after a show at a skating rink (also in Orange Country) they played with another up and coming band called Sugarcult featuring an old friend named Marko Desantis.  Jorma asked if I would manage Death on Wednesday.  I wasn’t ready to do anything yet, but I told him not this band, but whatever he does next, I’ll do it… fast forward a year and I run into Jorma in front of the Troubadour with a guy who he introduced me to as Joby, the guitarist for his new band and handed me a CD with a paper sleeve and a stamped logo that looked like an ad for roach killer that just said The Bronx Sure Death.  I think I called him by the time I got home listening to it on my drive home saying “I’ll do it”… that’s another story.

My going back to shows again for fun, eventually lead to many things for me.  One was discovering bands, bringing them to A&R friends with no reason other than feeling these artists could be something with the right people.  I had no ties to any of them other than being a fan and a connection to the industry (for better or worse)… from the artists getting signed, many times, it would lead back to me.   Also, while teaching, I would ask kids if they had ever heard of any of these bands (90% would not have, but I promise would become their favorite bands the next year). 

From that I got calls from executives asking for meetings.  From thinking I was done, I found the passion again and got a second shot.  I was offered full time teaching jobs, but I wasn’t ready to give up my passion yet (for better or worse) and took a job and stayed working for many years.  I also was working (on the DL) with an up and coming management company bringing the talent I thought was great, but not ready for prime time and could “ghost manage” them and help develop.  See, back then, managing a band while having a job was conflict of interest and was forbidden. Today it’s just the norm.  Triple dipping is rewarded.  But at that time, I was able to put “emo” in the mainstream music business.  The bands I brought in were by no means "big" but very well known in the scene.  This company was the only "reputable" management company that represented any bands from the scene and it those bands helped become the endorsement when meeting with bands later that would create the dynasty the company is today.  I wasn’t the first by any means, but I know what we did…

My last trip to Chain was last year when (another band I managed) Further Seems Forever played a show.  It was the same parking lot, the same (some updated) t-shirts, a bar now vs candy bar, but the same vibe, just new faces in the moment of community and music. Seeing Jason Gleason 20 years later in the same space was beautiful and took me back to the feeling I had back all those years ago.  Music is about taking you back to a time, a feeling that will never happen again, so is a venue like Chain Reaction.

Anyway, 2002 Chain Reaction was the Orange County 1977 version of CBGB’s.  I could write for days about the people I met there, saw there, what it did for bands, what it did for fans… but reading its closing on December 18th is the end of an era… I hope there is another place out there making a safe space for music and kids to grow and discover, to build their independent foundation of the person they will become through the influence, memories, friends and impact a venue can have. 

The list of bands that came through Chain Reaction is so big and so impressive, i'm not even going to try to list them.  I can only say I saw a handful compared to the kids that spent their youth being part of the community.  Chain Reaction is the venue many can say 'I saw....there before they blew up"

I think about those days very fondly and am thankful of Corrie, Jon, Kevin, Chad, Jason, Jorma and so many others for bringing me life again at a time that the business had slowly been poisoning me… Chain Reaction.  You are a legend.  Salute.

Everybody's Doing it... Get in the Car. Ok

Where things are today being an artist, they provide the music and the “content”… once they make it, like any business, they need ways to get it out to people to discover, listen, buy, grow with.

With this, it’s necessary to have a retailer to carry said album.  In 2025, we need an aggregator… a place/source to make it available to be competitive and available for discovery and consumption.

Sadly, as the creators, this is a business they have no say in.  We need the platforms regardless of how shitty they are to musicians… both in payment made and in the hierarchy of status based on who you are or work with. 

But if you don’t play the game, you can’t get on the field and compete.

In the old days, you had to work with a label to compete with the majors.  They had money, they had power, they had staff, they had radio, retail positioning and without them, you couldn’t compete. 

The business took a dive where consumers rebelled against the monopoly they had over consumers and Napster came to play. 

 

This was a true rebellion that was raging against the corporate music machine, but while harming the business itself, it also hurt many major label musicians in the process.  The company gets hurt, it trickles down to the artist.  Collateral damage..   

But indie artists and homegrown artists took this technology and embraced it to reach bigger audiences.  Between that and upcoming social platforms like Friendster and later MySpace, these young artists found a way to get to their audience without the labels and status quo of the distribution and stronghold on who could play.

The business lost big.  They fought what was going to be the future of distribution and consumption rather than embracing it.  

It was the first time David was beating Goliath. The nerds were beating the Jocks.  The bullies were getting outsmarted and taken down with no mercy.  

This created music scenes… this helped bands and artists get discovered in a true DIY way. Bands you never heard of were selling tickets, selling CD’s, selling merch and albums were being listened to and it was not a singles driven, radio needed environment.  

Major Labels lost.  

They had to drop staff, merge companies leaving the model and a lot of great employees out of work.  All because the bullies thought it was better to try and muscle the future from happening and lost.

The “business” was dead for several years.  360 deals came to life, ways to “beat” the new world failed over and over again.  Tech companies getting funding to bring a “new” technology came, failed, went away and no solutions…

Then Spotify comes to play.  A new technology that sounded ridiculous. But the industry couldn’t pass on any ideas at this point.  The technology and idea was crazy, but if it worked, they had to be a part of it… but like every idea, it needs something to make something. 

The technology needed music. So the business finally had leverage.  Spotify could have come out without cutting deals with majors, but nobody would use it.  Without the majors, it would have been the equivalent of MP3.com or eMusic. Good platforms alternatives, but no gravitas to take them to the next level of dominance.

The majors had nothing to lose and nothing but potential profit to come.  So learning from their lesson with Napster, they all joined the party and carved out percentages of ownership and won.

Spotify launched in Europe and grew and grew while the partnerships they made came to become financial success stories.  Profits via this new platform was not only success for doing nothing, but eliminated the cost of production and distribution.  That all became a click (literally) away.

Spotify needed the master rights and they got them.  The labels got ownership and priority. Each company providing music was able to negotiate their cut from music streamed, percentage of subscriptions purchased and percentage of ads sold.  All that profit is direct for the companies.  

The artists?  They signed deals that already established their percentage of music sold.  So, they were still getting their 12-18%, but that percentage is based on the income earned per stream at this point.  So when a song pays .0043 cents per stream, the artist collects 12-18% of that towards any recoupment or even payment.  Let’s say an artists streams 1 million streams and earns $4,300.00, the artist only makes (say 15%) $645… or that $645 goes towards their recoupment of any advance of expenses needed to pay back.

Side note… that $.0043 is based on the royalty paid on a subscriber to the platform.  So it doesn’t mean that’s the actual payment make per stream.  The percentage goes down if the song is streamed by a family account, a student account or a free account (you can even add in those 3 months free when buying a plan with Verizon or ATT)… so that’s a general estimate based on the best case scenario.

So the labels are winners and taking victory laps for the Billions they make per day… but are still cutting staff, paying horrible deals and taking advantage of artists and consumers.

When these deals were cut with Spotify and other Digital Service Providers, the other people who were an oversight were songwriters and publishers.  So there is another loss. 

 

My belief is that this wasn’t even a thought because based on publishing and releases, there has always been a statutory rate in place for songs on albums and releases, so all parties could ignore the grey area and move forward without ever considering that position.  Blanket licenses issued and no room for negigotiation over this time.   No harm, no foul and play stupid.  It worked.  Deal was cut, the train was out of the station and everyone would have to catch up to the car in motion.  Act first, apologize later.

Now.. this isn’t all bad for those artists without a label.  The platform opened to everyone. With places like Tunecore or CD Baby (and now Distrokid and all the actual distributors) an independent  artist now has the opportunity to get distributed on said platforms.  No need for a major label like the old days where if you weren’t on a label or worked with a distributor of some sort, you couldn’t get in a retail store nation (or world) wide.  

So now, all artists have that opportunity.  They also have the ability to earn all the income from streams and not take a percentage based on a bad record deal.  The problem now is the over saturation and competition on said platforms. 

You see, the majors are still the winners.  As “owners” they have priority over others.  From playlisting, to exposure, to automatic placement on homepages and use in ads.

Do you remember when retail stores like Tower records or Virgin still existed?  You’d go in and see a display of new titles or listening stations.  That was called Price and Positioning.  It meant the labels paid for those areas to promote their titles and get the best option for eyes to see.  Subliminal ways of making a person aware of its existence and influence curiosity or familiarity.  Like when you go to a store, stand in line and see something near the checkout and you pick it up because “why not”.. the impulse purchase (Starbucks were the Kings of this when they sold CD’s at the counter that was playing in the stores when you went) .  If it’s not there in front of you, you’ll never have the impulse to buy it.

Streaming is the same thing… New Music Friday, homepage, whatever… if you open your app and it displays something, you are more willing to check it out vs digging and looking for it.  If you never heard of an artist, you can’t see them right in front of your face, it’s not on a “suggested” playlist, you’ll never know it exists.  

So, the majors/owners still have the best price and positioning on DSP’s…but at least you have the chance to be in the game now.

Ok… so why this long ass summary?  

Well, because in 2025 and moving forward, this is what an artist needs to be on to get a chance.  If an artist doesn’t participate on these platforms, they cut their noses to spite their faces.

                                                    

It would be so great to fuck the system and go full punk rock and say fuck you… but the only real result would be patting yourself on the back and maybe a few fans leaving a comment congratulating you.  But, now you are out of the game.  And those who commented on your Declaration of Independence are still paying their subscriptions on said platforms.  As that idiot DJ Kahled said in a great meme… “Congratulations.  You played yourself”… you took yourself right out of the game and hurt your career.  

It sucks that this is even our reality.  But it is what it is. Pearl Jam at the height of their careers took on Ticketmaster and made a huge statement… took it as far as they did and are still out here playing shows 25 years later for Live Nation (who own.. yep... Ticketmaster).  A stance is an awakening, but when the toothpaste is out the tube, the only way to win is to create a new tube.  I don’t see that any time soon, so we have to play the game.  

But there are helpful alternatives to assist.  The obvious are going to shows.  Buying merch. Buying vinyl, Bandcamp and CD’s. Going to record stores. Follow the artists socials, comment on posts… just show encouragement. 

Buy direct from artists and their web stores and avoiding bootleg sites what steal intellectual property direct.  

While using the streaming platforms, using those to share music, make playlists, do things that can encourage new fans who hopefully then use the alternative ways I just listed to support the artist.

The whole point (of this whole diatribe) was to point out the most disturbing news we have encountered (with regard  to Spotify)  is that it was made public that Spotify owner Daniel Ek, (who is a billionaire at this point), is investing money in defense start up Helsing. A company that is creating AI defense software and military drones as well as Spotify running ads for ICE recruitment that just in an ethical level is something many musicians are vocal about and oppose.  And while the platrom has come out with a statement, it doesn't change the fact that here is a platform used by billions that oppose war and whats happening in the United States

These actions alone have made it a place where some artists have taken a stance to remove their music from the platform.  These removals and stances have made a 24 hour impact and temporary blurb on social media platforms, but the fall silent and the only impact it makes if by hurting the artists music available for discovery. 

We stand with those artists, but they are also musicians which this is the career they chose. 

Without being part of the game, they aren’t playing.  It’s easy to fall under the “you are the problem” banner from not removing music from the platform, but that’s easy to say when pointing the finger.  But, everyone in the problem by keeping subscriptions or using the platforms.  So it’s a 2 way street.  

What I can say is that there are alternatives… if people leave Spotify and move at a revolutionary rate to these other options, I promise you, artists will also leave.  But you can’t leave when everyone else is staying.

Artists will continue to voice opinions and make art with words and music to rebel against the things in life that should be put on display and called out… and you as consumers, will continue to use the platforms, while calling out artists for staying on them.

When everyone legitamatly divests from use of the things they hate but live daily with .. artists will too.  

Snopes published a great article, with a very detailed breakdown of all this that I recommend reading here! 

But at this point if artists were to lead the way would be like Frank the Tank streaking to the quad and nobody following.

Hello. Good Afternoon

I was never a fan of the term “the one that got away”.  It’s such a defeatist way to look at stuff.  Sounds like you gave up, didn’t try hard enough or just felt it wasn’t worth the time.  Even though none of that could be further from the truth, the acceptance  that it just “got away” is enough to feel like it was forever unfinished.

As someone who spent their professional career working with talented artists with the desire to make everyone in the world to see what you see and share the feeling you get from their songwriting and performance, I have had so many losses.  More than wins.  By no means does that mean the ones that didn’t have the same level of success that the ones who did were “lesser” than, it was just a matter of right time, right place.  I believe everyone I have worked with is as good as the other. 

I grew up loving music.  Absolutely no ability to play or sing a note, but a great appreciation for those who could.  I am really good at listening.  I’m really good at observing.  My entire career has been built on my gut instincts.  I have no idea why someone or something affects me emotionally or viscerally, but when it does, I feel this charge of needing to share it.  This started in high school making mix tapes.  Hearing bands or artists from older friends or family, to hearing what was being played in my favorite record stores, reading fanzines or just liking an album cover.  When I would find something, the first thing I’d do, would be to make a mixtape to share in the cafeteria in school, make tapes for girls or friends or just dub my tape to pass out. Seeing others get that same feeling I did was the most rewarding thing for me.  Which makes perfect sense why I went into the business I did.

Discovering artists could come from anywhere… it could be a guitar player or drummer from a band I liked, but didn’t love, giving me a cd or tape of their new band to showing up early to see a band and catching the opener.  Befriending an up and coming producer who is working with a band of kids they went to high school with… I liked to turn over the stones others were avoiding or missing.  If there was someone else from the business at the show, I was too late.  Plucking someone out of nowhere and watching it get discovered by many is an incredible experience.  

The most frustrating thing is when you know you have someone that you believe in and know (if heard) others would love it.  Well before social media, streaming and blogs, the way of discovery was smaller, but it was also very hard to break.  To get on radio, you needed a label and money, to get in stores, you needed distribution, to get in press, you needed a publicist.  Not much has changed there, but the ability to get your music out has been easier, but even with these new methods of distribution, the new issues are over saturation, but the gatekeeping of top shelf play listing and discovery are still owned by the labels.  The magazines have disappeared, the record stores are lesser and the real way to get it out is DIY and direct to fan, but with the over saturation, there is so much competition for your attention, its almost harder today.

I have a great roster of artists.  With many on the roster, I have a story to work with behind them.  Some are legendary iconic and some are reunited artists from years past who got bigger by going away and coming back for brief returns, but the music was able to be revived, built on both nostalgia and new discovery.  I can assure you, artists like Fishbone and LIZ all walked so others could run.  But, I also have newer artists that in the pre-streaming days, I would know exactly how to market, but now live in a fog of personal disappointment.

One artist I have spent the last few weeks trying to find a way is a young artist named Matt Keller, who goes by the artist name K.Williams.  I met Matt in 2020, when I was teaching some classes at Los Angeles College of Music (LACM) in Pasadena.  Matt was in the music business program and from day one I knew I loved.  He was a wise ass, with a whip smart sarcasm and sinister smile.  First day we met, at the end of the class, he asked me for $20 and I actually reached in my pocket before stopping and thinking “what the fuck am I doing?”… Matt was in my class for months before finally sending me some music he had recorded.  The tracks he sent me were more rap than pop punk, the production was decent, but what I heard was a gift for lyrics and melody.  I didn’t know what I could do and wasn’t sure of the where it was going, but I did (as I do) bank it in my memory that when I get a chance to revisit, when (and if) the time was right, i'd return to it. 

I always kept my eye on his social media and kept him on my mind and when I ended up in an opportunity with a small independent label, I felt this was the time to revisit and reach out to Matt.  By this time I had a plan.  Sometimes when you discover artists, they are already 100% together and it’s best to not touch what isn't broken.  Find them a person to either record them the best possible and just let it be.  But sometimes its about pairing them with someone to elevate and help them get that little push and take them to discover things they didn’t know they had or discover how to elevate by learning how to unlock a process they weren’t aware of.  In the case of Matt, I felt he needed a push in direction and production.  A wordsmith and a melody guy, he needed to get more structure and musical direction.  I felt he was unaware that what he was writing, the melodies he was coming up with, fit more into the pop punk, emo world where lyrics, emotion and feel were barrier breakers.  

I connected Matt with my friend and producer Mike Green, who I had first met when he was out of high school and had just produced part of the debut album by (future management clients) The Matches.  Mike has the ability to write with and elevate every artist I have ever seen him work with.  A multi instrumentalist, programmer and arranger, I knew he would be the guy that would see what I see, hear what I hear and take it to the place I knew it could go, and would take it there.

I drove Matt to Mike’s studio in the Valley, introduced them and left them to work.  From heir 1st meeting and session, they recorded the song Delete Me.  It was everything I had visioned and sounded exactly how I knew would come out.  They recored 5 more songs that I would eventually release.  Not only did we get these great songs, but Matt got an education.  Was able to observe and learn to help his future writing and production process.

We made a cheap video and released Delete Me to DSP’s and YouTube and worked to get the music to be heard.  We did what you do, from paying influencers to talk about it, review it and put it on influential playlists and cross your fingers it would take.  It did.  The discovery and people adding Delete Me to their personal playlists was everything I had hoped for.  Adding to their personal playlists or sharing the song was the Mix Tape of the 21st Century. But this was a lot because of the song, but also the money invested in the right places.  

We followed up with another Mike Green production and video for the song Good Afternoon (I tink this one is my favorite).  

With great lyrics like: “Say you a diamond in the rough, I think it’s really rhinestone.  Roll the credits, cut the scene.  My life directed by me.”

Plus the melody, the use of the keyboards and guitar riffs, with a mix of live and programmed drums, “Good Afternoon” was the song I heard that was where I knew Matt could get to but wasn’t achieving when I first heard his first song and why this collaboration with Mike Green was so important to his development as an artist, producer and songwriter.  Plus I loved the video we did that had a White Stripes vibe to it...

From this point, his writing was on its way.  Only thing is the label I was at, that was helping cover the cost of record and marketing, which included these influencers and ways of getting the songs in front of people was gone.  Much like most small businesses, they fail. I don’t know if this was a fail, but more of a loss of interest from the person funding it.  We were on a very good trajectory for success, not only with Matt, but with other artists like Lauren Martinez (who I still manage and she deserves her own write up) and rap artist Tate228 and Recess Radio (talk about gift for melody and songs…holy shit.  (Follow the link, trust me)…when the label folded, so did the money we had to spend.  Wasn’t million, it wasn’t even thousands…more like hundreds… low hundreds, but when you don't have that luxury, it just proved to make it hard again.

We had built so much momentum and then with the loss of capital, we slowed down.  But Matt didn’t.  This is why I love this guy and why I need him to win.  

Matt took the lessons he learned working with Mike Green and rather than slowing down, doubled down to write and record more.  We needed up releasing an EP with singles we had released called Enjoy the Stay, a full length LP called Bite My Tongue and then an acoustic album of songs like Delete Me, (that just breaks down the brilliance of Matt’s songwriting) called Joyride.  And we continue releasing more songs that Matt is now writing and producing out of his house in Seattle, WA.  His musical influences continue to evolve and I’m here for it.  From a guy that noodled with a guitar and production, he's become a proficient player and producer and just continues to impress me and make me so proud.

I have new distribution with an amazing company called TooLost.  I put these out under my “label” name, Consigliere. Consigliere, like this blog title has been a title I’ve always preferred.  A fan of The Godfather, the role of Consigliere was to be the advisor.  Not the boss, just the role that raises flags, that makes suggestions, but I the end executes the decisions jointly made between the parties.  

I have spent the last few weeks listening to Matt’s catalog and am not happy with the fact that it hasn’t gotten anywhere near the attention it deserves.  I spoke to him this week and I'm on a mission to figure out how to relaunch this from the beginning.  Not getting the proper flowers these songs deserve, I’m on a mission.  Hence this blog post.  I have no idea how to make this happen.  I have no idea how to make it happen with less money (or none), I have no idea how to get my mixtape called K.Williams out to everyone to discover, dub, share, put on their own mix tapes, but I’m going to do everything I can.  He not only serves the shot, but people will hear this and connect.  I just know it.  My gut tells me so. 

The gift of melody is the gift of life.  It takes a cloudy day and opens enough for a ray of sunshine to hit your soul and brighten your life.

I was really happy when DSP’s added lyrics to songs.  Sing along and read along to K.Williams.  

His music is Timeless

Not a Waste of Time

Break A Leg

Don't be a JERK

If you don't like it Delete Me

Don't be left Somewhere in the Middle

If I steer you wrong Knock Me Out

Nice Guy doesn’t need to finish last

Best Case you love him

Worst case, you get Stuck in the Deep End

But its My Turn to turn you onto new music

Don't end up M.I.A or Dead to Me

Thank you for your time…. Good Afternoon.