RECORD NEWS

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Local employee looking to be Voice of McDonald's

 Thursday, 29 September 2011 02:01 Zentner, Caroline

Caroline Zentner
Lethbridge Herald

A Lethbridge songbird has made it to the finals in the Voice of McDonald's competition and she needs local votes to help propel her to the top four.

Stephanie Savage, 23, has been a McDonald's employee for seven years and is now first assistant at the McDonald's restaurant in Fairway Plaza. She's one of 12 Canadian finalists and the online voting going on now will whittle that down to four. The Canadian contest closes Friday and votes can be cast at vom.mcdonalds.com.

"People can vote as many times as they want," she said. The four top finishers get a trip to Niagara Falls in October where one winner will be chosen to compete in the global finals next April.

Word of Savage's run to be the voice of McDonald's has been spreading among the local restaurants through their Facebook page.

"All the crew have been telling their friends and posting it on their walls and my family are all putting it on their pages. I've put it on Facebook and all my friends have been doing it so I hope I spread the word pretty good," she said.
Savage, originally from Sydney, N.S., started singing at events like family weddings as a child. She also used to sing at Hurricanes hockey games and made it to the top 100 in Canadian Idol when she was 16.

 "I've never had any formal training," she said. After being encouraged to enter by her mom, colleagues at McDonald's and friends she decided to enter the Voice of McDonald's contest which is only open to McDonald's employees.

"They sent us a list of about 30 songs that we could choose from," she said, adding she chose "True Colours" by Cyndi Lauper.

 Savage said she's grateful to Brad Lang at L.A. Studios for doing the video recording and getting the word out about the contest.

The worldwide contest is running until next April. The top 16 contestants, four each from North America, Latin America, Europe and Asia-Pacific/Middle East/Africa, are global semifinalists who are eligible to compete in the final rounds at the McDonald's 2012 Worldwide Convention in Florida.

Winners, in addition to doing some advertising work for McDonald's, receive cash prizes. The winner receives $25,000, with the second-, third- and fourth-place finishers receiving $17,000, $12,500 and $7,500 respectively. Global semifinalists receive $3,000.

 

September 3rd, 2011                                                                                                                                     Alberta Artists Streaming Radio (AAS Radio)

The Alberta Music Industry Association, in partnership with the Government of Alberta, has developed an online streaming radio channel that will exclusively play and promote Alberta musicians, musical groups, and professional sound recording studio's Powered by Live 365, the internet’s leading streaming radio station, this exclusively Albertan streaming radio channel will be housed on the Alberta Arts Days website. www.AlbertaArtsDays.ca

Listening access will also be made available through numerous networks, including iTunes, Windows Media Centre, Philips Streamium, TiVo, and many more. Plus, applications will be available to access this streaming radio channel from mobile devices, including Blackberry, iPhone and iPod Touch.

 

MIKE MAGUIRE with special guest MARK NIVET

I’m not a big fan of earnest, sensitive singer songwriters, or pop music in general, however, new record label L.A. Studio Productions introduced two of their new artists to Lethbridge at the Sterndale Bennett Theatre, Jan. 13.

As most people know Mark Nivet from New West Theatre and seemed to know opening act Mike Maguire, the 100 seat event was pretty close to sold out.

Maguire’s boisterous fans packed the Sterndale-Bennett Theatre, cheering “I love you Mike,” as he played the earstwhile sensitive singer-songwriter schtick to a tee. He told stories in between all of his songs which were all about relationships past, and finger picked some impressive guitar lines throughout.

He has a pleasant voice, reminiscent of Matchbox 20 and Rob Thomas.

He played the music from his CD “Things Unsaid” note for note, and had the appreciative crowd laughing at his stage patter and affable stage presence.

He spoke of his songwriting, saying he writes songs so people can interpret them the way they like and talked of his travels to Cambodia and his work as a counsellor, all of which inspire him to write.

While the songs do tend to sound very similar and have a similar theme, there were some standouts like “ Fall From Grace,” which he said was inspired by his grandmother and “Losing Control,” which reminded me of Todd Snider he said it was inspired by a “crazy bitch.”

Not that I minded it, but for a guy trying to pull off the sensitive songwriter image, he cursed a lot in between songs though the audience seemed to be enjoying it.

He ended his set by playing a new song on the piano, saying he started playing piano at five at his parents’ encouragement, though he said he didn’t enjoy going to lessons. But he thanked his parents, family and co-workers for their support as well as L.A. Records’ Brad Lang for believing in him.

Mark Nivet was next on piano and played like a seasoned pro, joking with the crowd, about turning away from the audience to look at a camera behind his piano, so it “wouldn’t catch the reflection of my chrome dome too much.”

He played his pop infused Cd “The Path” from the last track to the first and chatted engagingly with the audience, noting he was inspired by “great soul singers,” whose influence came to the fore in his music. He introduced his own song about the ”crazy bitch” who inspired him to come overseas from Australia. He told stories about the songs including one he co-wrote with his brother during a visit back home. Throughout he displayed his impressive vocal range and affable stage presence.

Richard Amery
For the Sun Times-Lethbridge

MUSIC MAN

There are two different approaches to making a career of creating original music.
You can write songs and play them in front of  an audience at open mics and any place that will let you play them and adjust them on stage until they are perfect judging by audience response,which is what a lot of people do. Or, you can woodshed them until they are perfect and practise them until you are singing them in your sleep, polish your image to an absolute sheen and rehearse every single word you are going to say in between them before even the ghost of the idea of hitting the stage crosses your mind.

That is the tactic Brad Lang of L.A. Records and Media Distributing is taking with his roster of artists. And it’s why you won’t see people like Stan Ashbee (though he sometimes plays the Mocha Cabana), Carole Arbour, Mike Maguire and Mark Nivet (though you will see Nivet performing with New West Theatre) at a lot of open mics in Lethbridge — at least not yet. Because unfortunately, today’s music business is not just about the music anymore; it’s also about the image.

“You need to practise. You want to get your show together before you go out and embarrass yourself at an open mic,” Lang said.

He adds his goal, in addition to getting musicians’ music out there, is to get them hooked up with a booking agent who can take care of shows across the country. That’s why he records a DVD of each of his artists, to give the agent a sense of what they can do on stage.

“You want to go out and wow people rather than have them observe, ‘Oh, she’s getting better.’ You want to work out all of the kinks in your music before you even go on stage,” said Lang.
He’s pretty tight-lipped about the artists and session musicians he works with for fear that other record companies will approach them.

Lang has been quietly running his record company in his westside basement since 1994 after converting it into a top-notch studio.

Lang also records radio commercials which are broadcasted from all over the world in addition to recording bands in his comfortable westside studio which includes  four different studios which are linked by video, so Lang can see what is going on in each of them including the two vocal isolation booths in studio C.

One studio is a comfortable living room set in front of a green screen, where performers can perfect the live part of their act, and be recorded for a DVD which showcases their songwriting and performance abilities.

“It’s the best of both worlds here,” he said.

He adds he has a team of people who will help get musicians’ music out there.

“I don’t play an instrument. I’m a producer and an engineer. I’m not here to jam with you,” said Lang.

He may not be a musician but he has a long record of concert promotions, organization and, more importantly, recording.

“I’ve been in the music business since I was 16 when I had my own mobile DJ company. Since then I’ve worked on a lot of different disciplines, radio and TV broadcasting, music promotions. I’ve always been involved with music. My life has been about listening to people’s music, so I know good music from bad music,” said the man who can be heard DJing on the weekends on Rock 106 as Brad Wylder.

He works as much on his artists’ image and stage show as he does on their music, though they must have their own abilities on a musical instrument, voice and as songwriters, before they are even considered for L.A. Records. He also has a stable of session musicians available to ensure the best quality sound on the record.

“If you want to be the person who only plays open mics, you can. But I’m developing your talent so you can go farther. It takes a lot more than just recording some songs,” he said.

“There’s a difference between a quality recording and a broadcast quality recording,” he said. There are examples of the difference on his website www.lastudioprod.com.

“There’s people who don’t want to work to go farther, but those aren’t the people I work with,” he said.
Developing an artist doesn’t happen overnight. It can take anywhere between six months to two years, he said.

“We develop the complete package, the music, the live show, the press kit . . .”
Mark Nivet says if Lang hadn’t encouraged him to write songs, he would have never recorded his debut CD “The Path.”

“I’ve been working on this for two years. I just wanted to sing,” said the Toronto-based Nivet, who was back in Lethbridge for New West Theatre’s December production of “Glitz.”

“Brad heard me sing, so I started writing songs about my life and relationships and put everything else on hold.”
Nivet had three songs to begin with that were quickly followed by six more, although not every one appears on the record.

“I wrote ‘Cold Shoulder’ 10 years ago with my brother. He started playing a few chords on the piano, and I just started singing,” he said.

“The complete package has come together.”

Nivet said he is “very, very pleased with Brad Lang’s work.”

“Brad did an amazing job. He has an amazing feel for music and his team of people really loved what we were doing and built around it.”

He adds he would definitely like to hear his music on the radio.

“That’s definitely my goal, to get my music out there. Maybe do some touring to support them.”

In the meantime, he looks forward to getting connected with a booking agent to help with the touring aspect. He is presently rehearsing with a band in Toronto.

“People know who I am here and the CD was being sold at the New West show as most people know me from New West, ” he said.

Listeners who know him from New West will hear a different sound from the album.

“With New West, I’m singing different, really high, like ‘Eye of the Tiger.’ I wrote the songs for the CD and then picked the key in which to sing them in. Unless you have training, you can’t sing that high for 10 straight songs.”
Nivet’s family and friends have heard him perform the songs and responded very positively to them.

Mark Nivet’s official CD release party is at the Sterndale Bennett Theatre Jan. 13 at 7:30 p.m.
Tickets are $5. Mike Maguire will open.

L.A. Records and Media Distributing is proud to introduce Mark Nivet's  debut album "The Path".  A journey through several countries which Mark has lived, traveled  and experienced his path in life. The Album features Mark Singing and playing  Piano on emotionally driven Ballads as well as Contemporary Jazz numbers including "Cold Shoulder" and "You Don't Know Who I'am".

The New Album was released on October 1st when Mark began his new Lead Role in the Production The Toxic Avenger featuring the Music of Bon Jovi's - David Bryan in Calgary.

From: The Edmonton Journal March 2010

Record industry bosses hit back Tuesday at the "myth" that musicians no longer need them to become successful, insisting the Internet can help raise their profile, but cannot make them stars.

The success of the Arctic Monkeys, the British band who made their name through fan websites, and Radiohead's decision to release an album for free online, have sparked debate about whether record labels have had their day.

But a new report from the International Federation of the Phonographic Industry (IFPI), which represents the global industry, has catalogued the millions of dollars that are required to break out a new artist.

"There's not really any evidence of anybody succeeding going direct," said John Kennedy, IFPI's chairman, at the report's launch in London.

"Even artists who are typically described as having broken through the Internet, like the Arctic Monkeys, Lily Allen, or Sandi Thom, all ended up combining with conventional record labels."

Developing an online presence can get a band in "better shape" to negotiate a record deal, he acknowledged, but with 2.5 million hip-hop acts and 1.8 million rock groups registered on MySpace, getting noticed was not easy.

"Trying to break through this is like screaming in space," he said.

What record labels can offer is expertise, such as in choosing the right song to release as a single, contacts, and above all, investment.

IFPI estimates that with the advance payment, recording the music, making music videos, arranging a tour and marketing the artist, a new pop act costs at least $1 million US to break -- and even this is conservative.

French DJ David Guetta, who is signed to EMI, said: "What I know is how to make music, but that is not enough. To reach the public, music needs to be known, it needs to be available to buy and it needs to be talked about."

Although artists often make much of their money from touring, the IFPI insists the biggest-earning live acts such as U2, Madonna and AC/DC could only fill the stadiums after a solid record career.

Globally, music companies invest about 30 per cent of their total revenue in discovering, developing and promoting artists -- about $5 billion a year -- with about half of this going on artists and repertoire (A&R) discovery.

The A&R team, who spend their evenings in bars and clubs searching for new talent, are one of the most important parts of the business, says Dickon Stainer, managing director of Decca Records.

"New artists will always be the lifeblood of record companies," he said.

Decca, which has Jamie Cullum, Robert Plant and Alison Krauss on its label, spends about 60 per cent of its A&R budget each year on new acts. Industry-wide, about one in four artists on the major labels was signed in the previous year.

Not all of them will make it, of course. Ten years ago, about one in 10 artists would probably become successful, and although this is now one in five, many of these will not recoup what the label has spent.

"You can often sell 500,000 records, sometimes even a million records, and not be profitable," said Mike Smith, managing director of Columbia Records UK, whose artists include Mark Ronson, the Foo Fighters and Barbra Streisand.

The shift away from buying albums on CD to downloading individual tracks via iTunes or through illegal file-sharing has taken a chunk out of the record industry's revenue, however, and both they and the artists are suffering.

"We probably won't see the level of earnings of Madonna and U2 again," Kennedy said, but added of the new artists coming through: "If they're successful, they will become millionaires."

© Copyright (c) The Edmonton Journal

Why Do Some 'Idol' Stars Succeed While Others Disappear? Story by Rachel Burke Starpulse contributing writer

Did you ever notice how some contestants who win Idol seem to fall off the face of the planet after the season is over? Then there are other "Idol" winners who become huge successes. So why does this happen?

There's no doubt about it, Carrie Underwood and Kelly Clarkson are not only beautiful but extremely talented. Carrie Underwood covered Heart's "Alone" during one of the "Idol" episodes, and it was such an amazing performance that Simon Cowell said to her, "I'm going to make a prediction: you are not only to win this competition, but you're going to sell millions of records". And she did just that.

Kelly Clarkson has also not only sold millions of records, but she's received several Grammy Awards as well. To be quite honest, she deserves it. Her voice range is absolutely amazing, and she blew every other contestant away on "Idol's" first season.

So why is it that artists such as Clarkson and Underwood make it big but artists such as Fantasia Barrino and Taylor Hicks seem to disappear? Is it because Clarkson and Underwood are more marketable since they're young, attractive women? Or could it be that the majority of people in society who vote for their favorite "American Idol" contestant simply don't know how to accurately judge who is the most talented?

It seems to be unanimous that Chris Daughtry was much more marketable than Taylor Hicks. Daughtry was a young, attractive artist with a unique sense of rock and roll style that America loved. Yet, for some strange reason, Hicks won the fifth season of "American Idol." Hicks was recently dropped by his record label J. Records, while Daughtry is constantly played on radio stations all over the country and is selling millions of records.

Everyone has their own opinion on what drives the success of artists and what fails them. It could be a popularity contest based on the best-looking contestants. It could depend on the song writer one gets and how catchy the songs are. It just doesn't seem to make sense that if the majority of society is voting for one artist, why that same majority of people wouldn't buy their albums once they win a record deal. I guess we'll just never know.