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How about the Left Banke? Tragically underrated. Ted Nu- gent back with the Amboy Dukes? Bob Dylan back with the remaining Band members, and they do "Blonde on Blonde" live? Note for note? Yeah, sure. See you on the radio. COM The opinions expressed are his own.

Grunge was all the rage in in Seattle, and the eccentric pop of Rosenfeld and Possanza's band, the Busy Monster, was out of vogue. But by the turn of the century, Barsuk had found an act that would far eclipse whatever success the Busy Monster attained, and that would also force the two to quit their day jobs and run Barsuk full time. Wave hello to Death Cab for Cutie. Its album, "Transatlanticism," sold , copies, according to Nielsen SoundScan, before the band left Barsuk for Atlantic.

It was a move that was purely harmonious, as Rosenfeld, who runs the day-to-day op- erations of the label Possanza oversees IT and production was involved in the band's negotiations with the major. But there's plenty more to Barsuk than Death Cab for Cutie.

The label resurrected the career of rock act Nada Surf, reached the charts in January with the odd pop of Menomena, signed psychedelic pop act the Starlight Mints and has a slow-building success story with the curious pop-meets-metal sensibility of Viva Voce.

The last band is currently opening for the Shins. Here Rosenfeld discusses, among other things, his hopes for how indies can weather the rapidly changing marketplace. What was your pre-Barsuk day job? I worked for this not-for-profit car- diovascular research institution, and it was an infuriating experi- ence, working in the supposedly philanthropic, not-for-profit world. I learned a lot from that job, about how large companies and bureaucracies can be an incredi- ble frustration and an impediment to progress.

So it prepped you for the mu- sic business. I was fully expecting the indie record label to be a not-for- profit venture as well, but I at least knew I would be my own boss, and a smaller organization can be nim- ble and fun instead of oppressive and terrible. But did the musician in you struggle with your newfound business duties?

I was clueless how to run a business in those early days. For our first deal with Death Cab, they hilariously insisted we change it be- cause they knew it wasn't fair to Bar- suk. I'm very idealistic, and 1 was very unrealistic about what a fair business relationship was. How has that business relation- ship changed in the download era?

Is Barsuk investigating other revenue streams? Those other revenue streams are definitely things we are thinking about and have been talking about with our artists. There's obviously a certain reticence on the part of artists to give up money that would otherwise be going in their pockets. Anyone trying to do these new- model deals is finding there's a big education process if you're going to tell an artist that money they would normally be going home with they need to pay a portion to you — just because.

We do profit splits with our artists, and I think that's a great con- ceptual model to add other revenue streams into. If it's not Barsuk, 1 think it's going to be an independ- ent label that figures out a viable new model. So the Internet hasn't scared you into rethinking your business? This last year was the first year where we've experienced anything other than phenomenal growth. In the universe of record labels who are worried about the near-term ef- fects of the Internet, we are proba- bly not the most worried.

Our sales have been relatively buoyant. We continue to operate at a profit. My concerns with the Internet are much more long term. My overarching concern about how technology and the industry are interacting together — in full view of music fans and music con- sumers — is that recorded music should increasingly have no value or significantly lower value from the consumer's perspective. I see the promotional possibilities of sub- scription services, and I see the promotional possibilities of ad rev- enue-driven, free-download stuff.

But every time that a music fan gets the recorded music they want and doesn't have to pay for it, or has to pay very little for it. Is lifting digital rights manage- ment an answer? The DRM problem in my view is a problem with portability. I don't have any problem at all as a listener, and certainly not as a rights holder, with the idea that there should be some security involved. I think that the proprietary technologies and the portability issues are the main things that make consumers mad.

Consumers understand that stealing music is illegal. But be- cause it's so annoying that they can legally buy something but can't Its- ten to it where they want to listen to tt, the issue gets muddied. It starts to feel like the security meas- ures themselves are the things that are wrong and are providing the As an industry, musicians and labels and show promoters and managers have to think about making every element a gmg rich.

I am totally open to the idea that digital files should be sold in MP3 format. I understand why that seems scary to people, but I don't buy the argument that the people who steal music are just going to find a way to steal it, and everyone else is going to pay for it.

So is there a balance to be struck? We have started to stream our new releases on our site so peo- ple can listen to them before they buy them. I have no problem with allowing people to sample music. But I want to do every- thing we can to help consumers understand that quality is impor- tant.

I hope the belief that qual- ity is important will accrue to the label in a branding way. I don't want to throw my hands up and say, "People aren't buying al- bums and are only buying sin- gles and music digitally. Maybe that means there's a big cutback in the quantity of music that's released, but it's going to have to become more and more incumbent on all of us to provide greater quality.

We are at a moment in history where there are still enough people out there who care about music in a deep way. We have an opportunity to keep them from sliding into the group of consumers who think that music is not worth paying for. That seems like the highest priority for my label, much more than trying to figure out the newest trend for how kids want to get their music for free, and running there and putting all our stufT up and allowing them to continue to think of music as the delivery system for the ads they have to watch.

Consider- ing today's conversation, regarding his Jan. The of- ficers reportedly confiscated more than 81, mixtape CDs, along with comput- ers, recording equipment and four cars. At issue, ultimately, is the legality of the "mixtape," a promotional, album- length CD that has long been favored by the promotional arms of hip-hop labels, but is also sometimes targeted by record labels' legal departments. The Atlanta-based DJ has made landmark mini-albums with artists like T.

DJ Drama swept the Justo's Mixtape Awards-the only awards that matter, to those in the know when it comes to the shadowy busi- ness world of mixtapes-by winning four trophies, including the coveted mixtape DJ of the year. But even if the business ethics and relationships of the mixtape world aren't always so clear, DJ Drama has shrewdly translated his branding into marketing partnerships with very mainstream com- panies like LRG clothing and Pepsi.

Asylum Records agreed to distribute his Aphilli- ate Music Group record label in late , and Atlantic plans to release his first major-label "Gangsta Grillz" album this summer. In his first interview about the arrest, DJ Drama speaks about building the brand that got him busted, the events of that day and the impact of his arrest on the hip-hop pro- motion and artist-development game. I grew up in Philadelphia around this vibrant hip-hop scene.

When I was 1 3 years old, my sister took me to New York. By junior year of high school, I was doing my own mixtapes. I met Sense the first day we moved into the Clark dormitories. We started doing all of the college parties. From cafeterias to dorm parties. In , my sophomore year, 1 started making tapes again.

The first one was called "Hip Hop Lovables. I n between classes, I would set up shop on an upturned trashcan. Sense and 1 met [Don Cannon around the same time. He played me a beat tape and not long after we be- friended him. How did you build your brand as DJ Drama? Whatever needed to be done, 1 did it, from weddings, family reunions and house parties. I felt like I wouldn't have been able to do what I was doing in Atlanta if 1 was still in Philly.

There was no middle ground there, you were either on Philly's hip-hop radar or you weren't. I had a little reputation at the time, but it was small and very coll- egy. So, I started branching out into the clubs after that. Eventually the mixtapes turned into CDs. I had upgraded my sales setup with speakers and a table. I was just trying to get them into as many hands as possible. How did the "Gangsta Grlllz" name come about? Emperor Searcy, who works at Hot So we had this opportunity and needed a new South tape.

That's how "Gangsta Grillz" was born. From there, I didn't want to change the name. But there were a million D s in New York, and I loved what they were doing around and Everyone started having artists host their mixtapes. So with my next tape, I didn't have anyone to host so I just used Lil Jon's voice saying "gangsta grillz" and put it all over the tape. What was your initial plan for "Gangsta Grillz"? I was always aware of branding and its importance. I wanted people to look at my tapes, see "Gangsta Grillz" and say, "Give me that.

I wanted people to automatically pick it up. How did you connect with T. I got a phone call from Jason Geter, T. He said, "I got this artist named T. I want to bring him by your crib to record a freestyle. He used to wear his little focals then. Jason started organizing T. That was This was when DJ Whoo Kid and 50 Cent changed the mixtape game and hip-hop forever by killing the demo tape.

After 50 Cent, you couldn't go into a label talking about, "Here's my demo tape. So when 1 did theT. Even though I laughed at him, when he first said he was the king of the South. That was also the big turn- ing point for "Gangsta Grillz. My top three tapes were 's "Down With the King" withT.

Those three tapes in those three years defined DJ Drama as the mixtape king. Talk about Jan. Were you tipped off? I got a brief word. But it still came as a shock because I was confused about just what I would get raided for. I was outside the front door of my office when the police came out, M- 16 guns drawn in full force.

They threw us on the ground, locked us up, told me I was charged with bootlegging and rack- eteering, which aren't necessarily the final charges because we have yet to be indicted or see a courtroom. They also rushed into our office and asked our employees where the guns and the drugs were.

They said, "If you tell us now, it'll be easier on you. They took the hard drive containing my album. They took me to jail. Cannon and I both got dressed out and put on the suits, but he wound up going upstairs before 1 did so we weren't together for the majority of the time.

We got a lot of love while we were in there. The guards told us they were talking about us on TV and the radio. We were released the next day on signature bond. How do you think your arrest has changed the mixtape in- dustry? A lot of the impact is still up in the air because people are waiting to see what comes of our situation.

But, 1 try to look at everything in a positive manner. The mixtape game needs to change for the better. People need to learn from this. Do you think the record labels you worked so closely with simultaneously congratulated and crucified you? The whole time I've been doing mixtapes. I've always had label support. Every mixtape that I 've done has been directly with the artist, with their consent. It's a creative process from the beginning, and the labels are involved.

So I don't feel like 1 was getting jerked. I've gotten a major label five-album deal from doing my "Gangsta Grillz" mixtapes and what I was able to accomplish in the streets. So you don't feel like a martyr for the mlxtape's copyright grey area? It's complicated. We haven't been indicted or offi- cially charged so it's hard to say.

I "ve heard the "mixtape martyr" term, but I don't go backward, I go forward. Not just where does DJ Drama go, but where does the mixtape game go from here? People need to realize how important mixtapes are to hip-hop and the music business.

There are people in very powerful industry positions that owe a lot to mixtapes. So the RIAA busts into your office with dogs and guns, and you don't blame the record labels, which they represent? It s important for people to understand that I'm a businessman. I work with the record labels. I have a record deal with Atlantic Records. I have a label deal with Asylum records. I'm educated, and I've never been arrested before.

I've never had any gun charges, I've never shot anybody, and I've never sold drugs. But that's not something I blame the record labels for. Legally, there are things that I'm not in a position to talk about. But God works in mysterious ways. After Jan. Now I have an even bigger platform. They took my album, and I could have been shit out of luck. Instead, in three weeks, I was able to redo almost every song. I retrieved different artists' sessions and did seven to eight new r songs.

Now I have the "Gangsta Grillz" album coming out, and my arrest put it in front of everyone's eyes. So, no, I'm not salty with the labels. I would love to, at some point, have a sitdown with myself. But salty? I'm grateful for my career. How do you think your arrest will change how artists get signed to labels? Hip-hop thrives off of mixtapes. Other tech- nologies like YouTube and MySpace have popped up, which are creating other avenues for artists.

But labels need mixtape DJs. They really don't know what's going on out here. Has your arrest changed your business? It hasn't changed anything. It's ironic because my game plan was to release "Gangsta Grillz" the album as my next mixtape. Why didn't you list it? It was just never something I did. I don't have bar codes on my mix- tapes, because that's not what the tapes are for.

How did your tapes end up in major retailers? How does a bootlegger ever get a CD? I never supported the sale of my mix- tapes in retailers. Rumors also abound that the distributor BCD set you up because you ended a deal with It.

I 've never blamed BCD. The affidavit is online for anyone to sec. Your company sent a cease-and-desist letter to BCD? Did you have a deal with BCD? They couldn't show the con- tract in court I never supported the sale of my mixtapes in major retailers. What about rumors that your own Grand Hustle camp set you up? That's dumb. I wouldn't even know what to say to that. Are you going to pursue clear contracts for your future "Gangsta Grillz" mixtapes?

There's going to have to be some agreement between labels and artists that makes every one com- fortable. Even if the labels figure out a way of working directly with the DJs to get the mixtapes done by offering an upfront fee that makes sense on their end and on ours. It could create a system that makes mixtapes comfortably buyable. Where do you see the Aphilliates brand In the future? I see us as an institution in the making because we stand by our qual- ity and consistency.

I'm a DJ who loved to spin records and make mixtapes who has turned into a music industry executive. I plan to sell records, not just for myself but for my label and get more involved [with other artists. An executive with a background in the recording industry and Web 2. Atom is perhaps best-known for distributing the animated presidential send-up "This Land" from Jibjab Media, viewed more than 80 million times. Salmi was being lauded by the likes of BusinessWeek as a "net movie mogul.

But rising through the ranks to the role of top digital ex- ecutive at MTV may turn out to be the easy part. Now comes the hard part. In his new role. Salmi is tasked with helping MTV get its mojo back after having its cred undercut for the last 18 months by hipper, more nimble and some would argue less copyright friendly youth -oriented Web sites like My Space and YouTube.

That's no small mandate — especially in the wake of a turbulent , in which Viacom saw its stock sputter in part over concerns about the strength of MTVN's Web effectiveness. CEO Tom Fre- ston was forced out in favor of Philippe Dau- man as a result, and the digital media team had to be overhauled after longtime chief Jason Hirschorn bolted the company last summer.

Adding to the heartburn has been the layoff of some MTV staffers in February, and flagship music program "TRL" shifting in March to a some times live format as part of a cost-cutting effort. Salmi's mission comes with more than one inherent para- dox.

He is trying to create a more centralized digital platform and strategy for the company, while at the same time letting its brand strategy fragment and splinter more than ever. And he's attempting to do it with a diverse portfolio of assets — MTV, Comedy Central, Nickelodeon and all their respective subchan- nels — each with a history of fierce independence.

MTV is cer- tain things to certain people. It captures a cer- j tam moment i" time and presents it to you. That's what, in my opinion, tose sites have sort of become. We have to do a bet- ter job of programming our audience and talking to them in their voice. Diversification and adaptability appear to be the hallmarks of Salmi's philosophy. At Atom, we would sell to different demographics across multiple brands using different products or content types. That is also what we are trying to do now.

At Atom we were much smaller, obviously — only four brands compared to a couple dozen — but the philosophical way we were looking at it is very similar. I believe in having a superserved targeted demographic play, and as part of that, we're moving beyond just the iibcr- brands of MTV, and Comedy Central and Nickelodeon and others. We are going deeper with smaller brands like iFilm and Atom Films and things like that.

So we want to go deeper and instead of having dozens of brands, we have hundreds of brands throughout the company. Is there such a thing as brand overload? When consumers identify, some of them identify with Nickelodeon, some of them with "Sponge- Bob. So the question is. How do you set up a digital platform, a digital play, that allows people to find what they're looking for? The hard part is, how do you do it in a scalable fashion, so it is not resource- intensive as you start to expose yourself, and as you start to bring up these other brands?

I think "Colbert" is a good example — the producers run something called Colbert Nation. It's been very successful. It goes hand in hand with the TV show. It allows people to either go directly to the site or they can go through Comedy Central's site. So the "Colbert" stuff is a great example of how you can go pretty deep and you can build this community around something that's connected pretty closely with television. Can you drill down more on the notion of it being scalable?

As a company we have over 1 50 Web sites around the world. We have SO million unique visitors to our Web sites around the world. We are in countries with the TV channels. We reach over a billion people on TV and 1 billion people via mo- bile. We work with 50 mobile operators around the world. And we're not just a couple of dozen big brands but all the subbrands around it, so the scale is amazing.

I visualize it like this: I see the earth, I see all these little dots, and we're doing all these things. The key for us is, how do you take all that and expand upon it so we can do more? We're going to do more things on the Web, through mobile, around games and everything else. But growing them in silos by themselves is not taking advan- tage of scale and resources, or the audience.

So the challenge for us, and it is something we've been working on. So whether it be programs, blogs, verticals, channels, whatever you want to call them, they'll be very targeted. Some of these will be launched to create a brand or a new relationship with our au- dience that falls through the cracks of what our brands cov- ered. Other things we're doing to create new dimensions for our programming. In the last six months the company has launched a number of new niche channels including vbs.

It's embracing new distribution opportunities through deals with the likes of Joost and BitTorrent. It also is tinkering with a pair of existing digital initiatives that have been the source of criticism: its Overdrive broadband Web platform and the Urge digital music service. I think that having perpetual broadband-programmed channels is a great strategy; it just can't be our only strategy.

A similar revamp of MTV. The company is now looking at it as a potential Web-based music community. And that is not all. The company is attempting to bulk up its digital business through an array of investments and acquisi- tions, even as it cuts in other areas, Late last year it pushed into short-film content and games with acquisitions of companies like Atom and Harmonbc, the maker of "Guitar Hero" and other music-related video games.

And the company is said to be mulling buying London-based music social networking site Last. FM, among other acquisitions. How does that work from a consumer and a content perspective? That's a content connection that you can make for people. Or some of the consumers in different markets around the world may want to interact with the "Real World" community of peo- ple, not just in the U.

I think that is the opportunity for us — we are, compared to most companies, truly global and truly reaching a very targeted demographic. How are you working to centralize operations? A lot of the creativity in this company happens at the brand level so we want to respect that. On top of that, though, we realized very quickly that we need a common platform. Anything that is cross- company or involves coordination, we're trying to do.

A lot of the touch with the consumer re- mains with the brands. We're just trying to help them. We'll be measured on if they are success- ful. If MTV. So we have to make sure they're successful. In this model does that mean instead of a new technology application coming out of a brand, the application would be created higher up and then be distributed to all?

How are people in the company embracing this on a cultural level? The silos that had been there in the past are almost all gone. It's really become much more of an inte- grated company and it's going to continue to be- come more integrated as we go forward. How are you approaching acquistions? We're looking at anything and everything. Things that will support our connection of TV to mobile, software applications, stand-alone companies, cool brands, international things.

There's so many dif- ferent assets. We're absolutely interested in acquir- ing. But it has to fit into our strategy, and it has to fit in what we want to do as a company. Adopting those types of technologies and making sure we're utilizing them in the context of our brands is very important to us. One thing we've been working on is actually updat- ing our platform to Web 2. MTV has taken a lot of heat in the press over its ability to keep up with those services.

I think the story is more than saying. The power comes when you actually bring everything together in a great way. The interesting thing about a MySpace or a YouTube is that people don't go to the home page. They go to all the in- dividual pages. It actually does take advantage of the way people use the Web if they want to go deeper. Same with YouTube: YouTlibe is all about the digital community around the videos. So we've got a head start in that, in that we've got hundreds of thou- sands of videodips already and we've got all these brands already.

So the question is, How do we expose it better and make sure that people can find it? Is there a need for greater application of those tools in MTV-owned environments? Absolutely, we're putting all that in. We just have to make sure that the economics work. We've only begun, basically. Nickelodeon is con- standy adding things; embedding is happening on most of their Web sites.

It won't be something where tomor- row they'll say, "OK, it's done: 1 50 Web sites. All the fea- tures you ever wanted. Here it is. The think- ing is very much like, "Add things as we go along, make them appropriate. That's why it's never going to be just like turning on a switch. Every- one's going to be working on their own thing. But we will all be moving in the same direction of adapting a lot of these great features that you see on the Web. What's the larger syndication strategy? You just did that deal with Joost, but YouTube has been a thorn in your side.

They're not a thorn; we want to do distribution deals. I think our philosophy is that, just like we've done distribution deals with Comcast for our channels. Verizon for mobile video and iTunes for downloads, etc. We just have to make sure that the economics work with our business model.

We want to do more of those. I don't think YouTube is a thorn at all. It's just a question of us getting the deal we want with them. As viral video becomes bigger, how hard is it to retain brand identity when your original content is surfacing elsewhere? The balance for us is to allow our content to go else- where, but then make sure that consumers find out that we're the home base for a lot of it.

Hopefully, peo- ple will want to get a little bit deeper engagement and they'll come back to us. But if people just want to see it elsewhere, that should be fine also. We'll make an economic relationship around it. With the way people are using the Web. No matter where you live, you are eligible to enter now! While the year-old may not have personally done every- thing she writes and sings about, her life thus far has provided plenty of musical inspiration. In the last five years or so I've had some relationships go bad, and I do have a little pain in my life.

I airplay single or even a top 10 hit for that matter. The title cut, which peaked at No. I realize that [I'm] not just your average girl singing a song, but people do feel that way, so they want to hear it. An alumnus of the USA Network talent contest "Nashville Star" — she finished third during the inaugural season — her talent made her a media darling from the start, earning the kinds of press for which even established artists yearn.

And while she was not new to TV. Awards — complete with an explosion of flames that could be felt in the audience — not only got the attention of those watch- ing, it brought to the forefront her abilities as an entertainer. Despite all her exposure. Her latest single, the less incendiary "Famous in a Small Town," could be the song that breaks through for the small- town Texan. She and producers Frank Liddell and Mike Wrucke went with an "if it ain't broke, don't fix it" philosophy, but Lam- bert was more under the gun this time around.

I'm gonna show what little girls are made of, gunpowder and lead. The sta- tion still plays "Kerosene. We're going to keep coming back to radio while utilizing some of the marketing elements we used on 'Kerosene. Producer Dann Huff will be behind the boards for the follow-up to 's smash hit "Me and My Gang," which has sold 3. The group has a few more spring dates on tap through early April before getting busy in the studio.

Thursday's two Island albums have sold a combined , units, according to Nielsen SoundScan. Due June 12, the set features T. The Game. The Louisville-reared act is also working on new material for the first time since the mids. Its album, "War Within," has sold , units in the United States, according to Nielsen Sound- bit more leverage than we were used to having.

The signing is indica- tive of the growth of the extreme metal subgenre in the post-Ozzfest era, Scan, and the album spawned two top 40 singles on Billboard's Main- stream Rock Songs tally, "What Dri- ves the Weak" and "Inspiration on Demand. When it came time to look for a deal, we had a little which has carried such acts as Lacuna Coil. But all the newfound attention hasn't turned the new crop of metal acts into mainstream stars, at least not yet see story, below.

Fair says, at least initially, the band has modest goals in its new major label home. We've been around for 10 years, and we're looking to be around for a lot longer. They knew they signed a metal band. It's not like they were expecting some crazy pop record. If "Threads of Life" sees the band experimenting at all, it's in the vocals, with Fair stop- ping just short of a growl and throwing in more har- monies. He says he spent time listening to the Beatles and Alice in Chains before recording the album, and worked extensively on his vo- cals with producer Nick Raskulinecz Foo Fighters, Stone Sour.

His goal is some- thing that rivals the success Warner had with Metallica. But there's only so many slots for a Guns N' Roses or a Metallica or a Pantera, and we have all believed since day one that these guys have the ability to get to the lop. Anthony Delia, says the label will be taking lead sin- gle "Redemption" to radio in early April, but has thus far focused its mar- keting attention online.

The single went up for sale on iTunes in late Feb- ruary and has sold 4, units. Metal people want to hear the full record. Larger accounts such as Best Buy will receive various bonus cuts on "Threads of Life.

Five years ago, I'd say no chance would Shadows Fall be on a major. But the music-buying public is getting smaller, and the bigger labels are slowly catching up. Bands like Mastodon on Reprise and Lamb of God on Columbia may have had their largest debut weeks of their career when they joined the major label ranks, but sales, while respectable, have not yet catapulted the bands to new heights.

Lamb of God's "Sacrament" got off to a fast start, but the album's , units seem on pace to match major label debut "Ashes of the Wake," which has sold , units. Century Media president Marco Barbieri says there may be other factors at work. His label nur- tured Shadows Fall, and believed it was on the verge of a breakout smash with Lacuna Coil. But ef- fort "Karmacode" has sold , and not yet shown signs that the band will find a fan base beyond the , units sold by 's "Comalies.

We had hoped to get out of this metal, subgenre box and get some more mainstream play, but we were relegated to [MTV2's] 'Headbangers Ball. But it's tough to talk to those people. They have opinions and stereo- types, and a lot of what goes on in this country is re- acting to what's already considered cool.

Mastodon responded by making one of the scariest, darkest records ever on a major label. It's a pretty awe- some time. Rented speaker stacks pump heavy beats into the sweaty crowd, which mills more than it dances, if only for the close quarters. The gray sky threatens and the occasional raindrop lands, but no one abandons the party.

He lets a monstrous drum track build and then drop in a sinister burst of synth and bass, and the massive roars. Next door at deep house club Cielo's poolside party, sets from Blaze and Charles Webster get all but drowned out. DJ Boris. His "Fuck Me I'm Famous" night was Studio ian both outside — with a throng blocking the sidewalk and record label presidents pleading with unyielding doormen — and in, with model- quality dancers walking among the crowd and magnums of Moet getting delivered to tables with lit sparklers stuffed in their corks.

Armani Exchange — a longtime dance supporter — hyped new compi- lation "Solar" mixed by Richard Grey with front- window signage and blaring live DJ sets; Benetton had models sporting their gear dancing excitedly on cubes: and Diesel hosted DJs from very left- of-ccnter label Ghostly 1 nternational who played blips and bleeps suitable for jean-shopping. Only in Miami, kids. Here, the No. Van Dyk: I use a lot of technology onstage, as much as in the studio, so it's a very in- teresting convention for me to see what's new.

Just yesterday I had a meeting with the guys from Able- ton, who make the programs that I use. It was really geeky brainstorming, getting really techy, and we came up with an idea of this super-duper machine, a combina- tion of hardware and software. Guetta: It's just having a lot of fun with all my friends, meeting people who I work with all the year through the Internet and don't get to see so much.

That makes you come up with ideas you wouldn't other- wise have. I just saw Armand Van Helden and the guys from Dirty South, and I said, "Oh, I didn't think of you, maybe you could do a remix of my next single," and they were like, "Oh, great. We love you. Van Dyk: I'm a huge fan of Placebo. Calderone: I'm going back to my roots. The music I've been shopping and buying and what's been inspiring me is techno from everywhere. I see people connecting to it as well.

People in New York who were lis- tening to tribal and deep house, everybody's like, "Techno, techno, techno. Guetta: It seems to me that everything is going back to house. The minimal techno stuff was very big in Europe. I was really into the electro sound, but I'm backing up a bit now because everybody is playing that, and it's becoming kind of boring.

So I'm trying to mix this vibe with my roots, which are really house music and vocals. Of course, I'm inter- ested in new sounds, but I think you need more than just a kick and a bassline. Van Dyk: It's very healthy and always grow- ing with amazing music. Those little elements you would criticize don't even count. Calderone: The frustrating thing for me is the support, and I don't mean the fans— they're there.

The support from radio, the music chan- nels. Everybody gets inspired by dance music and everybody takes a little bit from it. Look at Madonna. Yet people don't want to take the risk to put it out there, support it, play it on the radio, give it its moment. Guetta: It's very different because in my country I do prime-time TV shows, I do major advertising campaigns, and when I speak to my colleagues here, they are like, "This would be impossible in the States.

I started my U. You don't have the media representation, but the scene is strong, and the enthusiasm of the people is huge. It reminds me of 15 years ago in Europe. McCoy, who was an aspiring rapper, was the front ma n for a local band, and McGinley played drums for another in their native Geneva, NY. The summer after sophomore year, McGln- ley's band landed a party gig, and McCoy, who happened to be at the same gathering, stepped to the mic and began to rhyme along with it.

Band and label credit a robust online fol- lowing for the breakout In the past month, Gym Class Heroes have frequently sold more than , digital downloads and Their MySpace page boasts more than 7 million profile views and , friends.

But the question remains: how to further break a rock group that has a rapper as a lead singer? To wit, a video for the track "New Friend Request" was recently made avail- able only on the band's MySpace and official Web sites, without any intention of it being picked up for broadcast. The rock kids or the rap kids? It was like this crazy snowball effect. Gym Class Heroes will continue pounding the pavement on tour in an attempt to reach new audiences.

The band is out with RX Ban- dits, P. Once people take the time to actually really check us out, they'll see there's a lot under the surface as far as our music goes. The late artist's studio— incubator for the classic album "I Want You"— sits behind an im- posing black gate on Hollywood's Sunset Boulevard. Imposing, however, melts away to mellow once you step across the threshold. Gaye's spirit seeps through everywhere.

From the walls, adorned with original por- traits and photos of the artist, including one with his "I Want You" collaborator Leon Ware, also newly signed to Stax. From a hid- den hallway door as you traipse upstairs to Gaye's personal sanctuary: a bedroom, bath and a smaller recording studio.

From the main studio downstairs, which, like its up- stairs counterpart, houses some of Gaye's original recording equipment. Against that backdrop, a relaxed Stone previewed several songs from her new album, "The Art of Love and War," due this summer. For instance, when she sat down to write the ballad "Sometimes," her inspiration was the film soundtrack to the urban drama "Claudlne.

Not only did the music from "Belleville Rendezvous" inspire the group, its French composer Benoit Charest went on to produce "Betcha Bottom Dollar. The act does not yet have a publishing deal. Looking ahead to the U. Puppini says, "In tin dreams, [we're] going to take over the world, because what we do is their music — it's part of their culture.

Raring to move beyond the midlevel point where her career is anchored, Stone hopes to acquaint listeners with her versatility. Before the preview ends so he and Stone can do some further vocal tightening, Nettles- bey notes that Mary J. Bilge also recorded some of her Grammy Award-winning album "The Breakthrough" in the same studio. While absorbing that, Stone credits another force on her side.

Indeed, the Core DJ's Retreat, held March in Miami, was a great opportunity for up- and-coming radio personnel to get face time with national label representatives and their artists. Tony Neal. By gathering leaders in small and medium radio markets across the country, Neal has corralled more than members.

And each year, he organizes two retreats, where labels showcase their best talent for mixers like DJ Dimepiece. Most small-market radio person- nel don't get routine one-on-one meetings with their designated regional label reps, so the retreat is a great opportunity to get a peek at what's coming. Artists attending the retreat also benefit from personally meeting the Core market lead- ers. I n this climate where new artists routinely send radio stations music and naively expect to garner spins, the wise hold a few more cards than simply handing off a CD.

Atlantic did a great job of implementing the "seeing is believing" ideal at the retreat. At- lantic manager of rap promotion Rick Betemit coordinated upwards of eight different groups to perform on Friday night at nightclub Sobe Live.

And even though Atlantic promotional executive Sam Crespo and the night's host. DJ Drama, missed their flights. Paul Wall. DG Yola and Trey Songz each performed and brought life to the singles that clutter most attendees' desks. Early- Thursday morning. The audience rated records, tike Slim Thug's new single "Problem Wit Dat," on a scale of one to five. However, not everyone followed this path to enlightenment. Rapper Mlms noticed that pattern and used it to his advantage while working his re- cent Billboard Hot No.

Stories like that epitomize the power of small and medium markets, as well as the over- all strength of the national radio landscape. We enter into an agreement where both parties share the risks. Nothing is hidden, there are no surprises.

On April 3, Cohen will unveil her latest creations, two CDs of deliciously disparate music: "Noir," with Lev-Ari arranging a world travelogue of tunes and conducting die Anzic Orchestra, and "Poetlca," a quartet outing showcasing the leader on clar- inet. The act is cur- rently on a U. After European shows and four sold-out major U. Fur- ther European shows follow in June and July. This fall, Rice will play nine U. A Nov. According to Rice's own Heffa label, U. It's practically something straight out of the United Kingdom for all of its poppy goodness.

Duff's "Dignity" synthesizes Kelly Clarkson's brand of catchy rock and Britney Spears' and Gwen Stefani's most dancefloor-friendly mo- ments. Sonically speaking, the set whips together retro new wave, guitar-fueled dance rock, shades of Middle East- ern instrumentation and very light dashes of hip-hop.

Duff successfully partnered with pop's white-hot songwriter Kara DioGuardi, co-writing 12 of the album's 14 songs. Hot topics on the set include deceptive men, pointed jabs at vapid celebrities, self- empowerment and perky odes about devotion. Krauss' recent col- laboration with John Waite on a remake of his hit. This collection is a must-have for anyone who appreciates that Krauss is this generation's best female vocalist period.

Is already a top five country airplay single, and there's plenty more to back it up. Not every song is uplifting, however. But thankfully, the Virginia beatsmith isn't looking to be taken seriously as an artist with his debut opus, "Shock Value. Instead of pulling a one-man-only act, Timbo does what he's known best for, collaborating on off-the-wall dance, pop lead single "Give It to Me" features Furtado and Timberlake and hip-hop "Come See Me" with SO Cent and Tony Yayo and even some haunting cuts "Apologize".

The beats are uptempo, techno-driven and percussion-heavy, with his signature croaky ad- libs and hooks. Few have done the producer-album right see: Pharrell , but when they do Kanye, Dr. Dre , it's genius. Standouts like "My Song" or "Until I Die" suggest a female Jeff Buck- ley fronting a tightly knit rock band, and Carlile's old- soul alto reveals beautiful cracks on the soaring title track, a confession wise beyond her 24 years. Else- where, there are small, acoustic ballads "Turpen- tine," "Josephine" ; the In- digo Girls guest on the pastoral "Cannonball.

A pow- erful statement by an artist to watch who is going her own way. KC Porter. Funk jam "After Party," cumbia "La Gallina" and feel- good merengue "La Temper- atura" sound like the perfect tunes for crowding the living- room dancefloor. Even hip- hop track "Magnolia Soul" re- alizes Ozomatli's signature blend of party and protest with a light touch, as an ode to the good times rolling again in post-Katrina New Or- leans.

Known for masterfully weaving funk, jazz, hip-hop and Latin styles, Ozomatli's forays into pop-punk and reg- gaetbn on this album are well- made but less riveting. It's hard to stay completely orig- inal album after album, but Ozomatli does exactly that when it sticks to the sounds of Los Angeles it helped put on the map.

And though the influ- ence of Maynard James Keenan is still present, Pete Loeffler sounds more like him- self on tracks like "Midnight to Midnight. What the material could use is more dynamic variety and not in the sense that every song needs the acoustic breakdown in the middle "Paint the Seconds" that afflicts so many major- label rock records today. The thing is. As it is, it's a stronger-than-ex- pected collection with sev- eral hit-sounding singles "Busta Clip," "Starched and Clean" and some genuinely melodic moments, like the acoustic-flavored "Find My Way" and "Single Mother.

The Houston sound is all about intoxicating, druggy sound- scapes, but there's a fine line between hypnotic mood creation and unchecked repetition. On danceability alone. Guerra takes no prisoners. But what makes this album worthwhile is his ability to make tropical music transcend at a time when the vast majority of the output in the genre is, frankly, boring.

From there onward, the album is a mix of more tradi- tional Guerra fare— that is. So it's no surprise to find the inspired songwriting partnership of Adam Schlesinger and Chris Collingwood approach their fourth album in much the same way as the first three. They still write the songs that no one else seems to get round to, about the people that no one else seems to notice. They still pen power-pop tunes so utterly irresistible— "Someone to Love," "This Better Be Good," "Strapped for Cash"— that they deserve to be every bit as ubiq- uitous at radio as the elements of the album's title.

Oh, and they're still brilliant. The disc is largely an acoustic piano trio date highlighted by Irving origi- nals and two nods to his mentor's '60s repertoire: a buoyant cover of Davis' "Seven Steps to Heaven" and a refined take on Wayne Shorter's "Nefertiti. Bassist Buster Williams co- stars, with arco support on the ballad "Primordial Wa- ters," low-end punch to the title track and a walking bass conversation with Irving on the midtempo groove tune "Always.

Jackson Wa- ters creates modern rock that is deliciously accessi- ble. Release Date: April 3 When one of the three new songs on this compilation begins "One fine day in hell With its 17 tracks, "The Dio Years" adds some import to the relatively his- torical blip that is Ronnie James Dio's four-album stint fronting the seminal heavy rock outfit.

Everyone Everywhere - Everyone Everywhere Fallstar - Reconciler. Fearless Vampire Killers - In Grandomina Franz Nicolay - St. Sebastian Of The Short Stage. Frightened Rabbit - Painting of a Panic Attack. Fucked Up - Couple Tracks: Singles Fun Lovin' Criminals - Classic Fantastic. Gameday Regulars Gamma Ray - Hell Yeah!!!

The Awesome Foursome. Gang of Youths - Go Farther in Lightness. Get Cape. Wear Cape. Glass Harbour - Distance From Departure. Glasvegas - Later Godspeed You! Black Emperor - Luciferian Towers. As Their Fury Got Released. Haste The Day. Headhunter D. Hellmouth - Destroy Everything, Worship Nothing. Hellogoodbye - Zombies! In Solitude - The World.

The Flesh. The Devil. Inbreeding Rednecks - Abnormal Life Portrayed. Incoming Cerebral Overdrive - Cerebral Heart. Indestructible Noise Command - Heaven Sent Interment - Into the Crypts of Blasphemy. Into It. Over It. Intronaut - The Direction of Last Things. Iwrestledabearonce - It's All Happening. When Dogs Become Wolves. Joe Bonamassa - Different Shades of Blue. Kayser - Frame The World Hang It On The Wall.

Kid Brother Collective - Highway Miles reissue. Kill It With Fire! Laaz Rockit - City's Gonna Burn re-release. Laaz Rockit - Nothing's Sacred re-release. Lacrimas Profundere - The Grandiose Nowhere. Laugh at the Fakes - Dethrone the Crown. Lay Down Rotten - Gospel of the Wretched. Legend of the Seagullmen - Legend of the Seagullmen. Legion of the Damned - Cult of the Dead. Makeshift Shelters - Something So Personal. Mammoth Grinder - Extinction Of Humanity. Massive Aggression And Then There Were None.

We Are Diva! Metallica - Hardwired To Self-Destruct. Mikkel Schack Band About To Destroy Something Beautiful. Nachtmystium - Addicts: Black Meddle Pt. Nechochwen - Azimuths to the Otherworld. Nine Covens On The Coming Of Darkness. Noisear - Subvert The Dominant Paradigm. Nomad - Transmigration Of Consciousness.

Theory - Fourier's Outrage. Nunfuckritual - In Bondage to the Serpent. Outclassed - This Might Be Coincidence Pizzatramp - Revenge of the Bangertronic Dan. The Man - Waiter: "You Vultures! Postmortem Promises - On Broken Foundations.

Primordial - Redemption at the Puritan's Hand. Promethee - Nothing Happens. Nobody Comes, Nobody Goes. Psyopus - Our Puzzling Encounters Considered. Queens Of The Stone Age Like Clockwork. Reel Big Fish - Life Sucks Let's Dance! Revenge of the Psychotronic Man - Colossal Velocity.

Riverside - Anno Domini High Definition. Robert Of The Square - Time. Salem's Pot Sean Townsend - Beyond the Fall of Beauty. September Malevolence - Our Withers Unwrung. Sick - Satanism. Sleepmakeswaves Sleepmakeswaves - in today already walks tomorrow. Spirits of the Dead - Rumours of a Presence. Structural Disorder - The Edge of Sanity. Suburban Legends - Let's Be Friends And Slay The Dragon Together.

System and Station - System and Station. Taking Medication - Prescribed Nonsense. Tales of Murder and Dust - Skeleton Flowers. Teenage Bottlerocket - Tales From Wyoming.

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Bossypants audiobook torrent Ted Nu- gent back with the Amboy Dukes? We want to em- power the independent music scene. Sense and 1 met [Don Cannon around the same time. But Spanish-language TV is only now beginning to diversify, much as radio has been doing for the past decade. Few have done the producer-album right see: Pharrellbut when they do Kanye, Dr. But what makes this album worthwhile is his ability to make tropical music transcend at a time when the vast majority of the output in the genre is, frankly, boring. The Binnacle List
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Condition: Any condition Any condition. Then, once you think you've got the foursome figured out, they put Jesse Kurvink's hyperactive keyboard playing aside for mandolin-bedecked ballad "Oh, It Is Love" "Baby, It's Fact" is another rare mid-tempo tune. According to the liner notes, all songs were written by Mr. In album closer "Two Weeks in Hawaii," he even uses the word "rad. Okay, so Kline isn't Cole Porter, but his yearning tenor and playful tales of puppy love are a perfect match for Hellogoodbye's pep rally anthems.

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