‘XP Music Futures showcased how strong the music industry in the MENA region can become.’Saudi Arabia recently played host to the third edition of XP Music Futures, a three-day industry conference held in Riyadh
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Key Songs In The Life Of… Joe KentishThe President of Warner Records discusses the songs and artists that have influenced his life and career to date
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Gulf Coast Records Announces the Signing of New England-Based Blues/Roots Band The Wicked Lo-DownGulf Coast Records announces the signing of New England-based blues/roots band, The Wicked Lo-Down, and will release their label debut CD, Out of Line, on March 8th, 2024. The Wicked Lo-Down is comprised of Nick David - Vocals/Harmonica; Paul Size – Guitar; Jeffrey Berg – Guitar/ Background Vocals; Brad Hallen – Bass; and Nick Toscano – Drums. Out of Line was produced by The Wicked Lo-Down and recorded, mixed and mastered by Jeffrey Berg at Walking Stick Studios, Auburn Mass. Pre-order The Wicked Lo-Down album here: https://www.wickedld.com/.

“Nick David has a blues and rock ‘n’ roll sound that’s deep and soulful,” said Gulf Coast label head Mike Zito in making the announcement. “His singing, writing, and harp playing are old school, yet fresh all at once. The Wicked Lo-Down is a fantastic group behind Nick. Paul Size on guitar is legendary in Texas Blues. Together they bring an exciting new album to the genre and Gulf Coast Records.”

“The Wicked Lo-Down couldn’t be more excited to sign with Gulf Coast Records,” said lead singer Nick David. “We are honored knowing that Mike Zito sees something in us and our music that is worth putting some muscle behind. Gulf Coast is the perfect label for the music that we are creating and we look forward to a long and fruitful relationship with them.”

Formed in 2020 just before the Covid lockdown by guitar giant Paul Size (The Red Devils, Mick Jagger, Sugar Ray & the Bluetones) and powerhouse blues belter Nick David (Mr. Nick & the Dirty Tricks, Queen City Kings), The Wicked Lo-Down  blends raw Texas blues and hard hitting Northeast R&B into their own completely original house rockin' sound. Their debut album, We Hot, received critical acclaim from some of the biggest names in the blues world and beyond. Consisting of ten well crafted, barn burners, We Hot established The Wicked Lo-Down as a true force to be reckoned- with and left no doubt that from Austin to Boston is how they roll.

Out of Line, the second record from The Wicked Lo-Down, includes 11 sure-fire originals and two rock solid, unexpected covers: Hound Dog Taylor’s “Just Can’t Make It;” and a bluesified take on “Toxic,” which was originally done by pop princess Britney Spears and the band proceeds to turn completely inside-out.  “With ‘Toxic,’ The Wicked Lo-Down have re-crafted this interesting piece of bubble gum pop into a sinister, fierce, rockin’ Texas shuffle with help from the great Monster Mike Welch on guitar,” declares Nick David.

As with their previous release, the focal point of Out of Line is on the songs. Highlighting the songwriting of Berg, David and Size, the band once again solidifies its place by continuing to carve out a lane all its own, making the new disc a must-listen for hard core fans of bands like The Red Devils and the original Fabulous Thunderbirds. 

About “The Wildest One” track, Nick David says:  “The Wildest One (Lester’s Boogie)” was written as a tribute to the great Lester Butler. The head riff was something that popped into the mind of long time bandmate Paul Size as something that reminded him intensely of Lester and the rest of the song was built around that. The lyrics, written by Nick David reference the life & music of Lester, including song titles from the Red Devils and 13 records. 

The Wicked Lo-Down will celebrate the release of Out of Line at the upcoming 2024 New England Winter Blues Festival and Tour, as part of the Gulf Coast Records Revue.  The band will have a limited number of new CDs available at these shows. Stay tuned for more CD release parties in the spring!

The 2024 New England Winter Blues Festival will feature four Gulf Coast Records recording artists and four of the blues world’s most fierce and beloved guitar slingers: Popa Chubby, Albert Castiglia, Monster Mike Welch and Paul Size (of The Wicked Lo-Down), who  will be bringing bona fide Blues Guitarmageddon to the New England this coming February.

The 14th annual New England Winter Blues Festival Presents: A Gulf Coast Records Revue

Feb 15 - The Rex Theater - Manchester, NH

Feb 16 - Blue Ocean Music Hall - Salisbury Beach, MA

Feb 17 - The Fallout Shelter - Norwood, MA

Feb 18 - Jimmy’s Jazz & Blues Club - Portsmouth, NH

Meet the Band

Nick David: For the last 25 years, dynamo Blues shouter, unorthodox harmonica ace and extraordinary stage presence Nick David has been entertaining audiences in New England and around the world. Nick spent 12 years fronting the widely regarded Mr. Nick & the Dirty Tricks, which included the Billboard charted album, Oh Wow, produced by the legendary Curtis Salgado. Nick has performed and recorded with many notable musicians, including; Luther “Guitar Junior” Johnson, The Holmes Brothers, John Popper, Otis Grand, Jerry Portnoy, Duke Robillard, Ronnie Earl, Curtis Salgado, Big Bill Morganfield, Jason Ricci, James Harman, The Nighthawks, Rick Estrin and Junior Watson, to name a few. 

Paul Size: For the last 40 years, Paul Size has been the pure embodiment of blistering Texas Blues guitar. Having grown up and made his bones in Texas amongst modern day Blues royalty like Anson Funderburgh & the Rockets, The Fabulous Thunderbirds and SRV, it is no surprise that he turned out to be the juggernaut that he is today. At just 19 years old, Paul moved to LA to join the famed Red Devils, where he spent three years traveling around the world, playing and recording with a wide variety of musicians including Mick Jagger, Los Lobos, The Allman Brothers, The Black Crowes, Doyle Bramhall, Doyle Bramhall II, Kim Wilson, and Ronnie Earl. He recorded one full-length record and did several recording projects with legendary producer Rick Rubin. After moving to New England, Paul spent several years in the stalwart Johnny Hoy & the Bluefish and recorded and toured as a member of New England Blues royalty, Sugar Ray & the Bluetones. 

Brad Hallen: Having been a full time musician since 1975, Brad has played on over 200 records to date and has recorded and toured the world many times over with Blues and R&B artists such as Duke Robillard, Jimmie Vaughn, Susan Tedeschi, James Cotton, Billy Boy Arnold, Curtis Salgado, Hubert Sumlin, Roomful of Blues, Kenny “Blues Boss” Wayne, The Founders, Monster Mike Welch as, well as many Rock artists including Iggy Pop, Ministry, Ric Ocasek, Elliot Easton and Ben Orr (The Cars), Jane Wiedlin (The Go Go’s), The Nervous Eaters, The Joneses, Willie Alexander, Aimee Mann and many others

Jeff Berg: Jeff Berg has been an integral part of the New England Blues scene for the last 30 years, whether fronting and playing guitar in his own band, Night Train, playing bass for ubiquitous New England Blues stompers Ryan Hartt and The Blue Hearts, or original rock outfit The Howl. In addition, Jeff is chief recording engineer at Walking Stick Studio, as well as record producer and label owner of Feffrey Records. 

Nick Toscano: Nick Toscano has been playing drums in all forms of musical settings in New England and beyond for over 30 years. In addition to The Wicked Lo-Down, he’s recorded albums as a member of Ryan Hartt and the Blue Hearts, The Eric Ducoff Band, Chris Capaldi, The Raymond McMorrin Quintet, and others. Nick has also been on the road with some dynamite touring artists including Junior Watson, Mark Hummel, Rusty Zinn, and Anson Funderburgh. 

Out of Line Track Listing and Songwriting Credits 

1) Kill Me or Keep Me (J. Berg)

2) Marchin’ On (N. David, P. Size)

3) Bogeyman (N. David)

4) Out of Line (N. David, P. Size)

5) The Wildest One (Lester’s Boogie) (N. David, P. Size)

6) Toxic (C. Dennis, H. Jonback, C. Karlsson, P. Winnberg)

7) Action Woman (N. David, P. Size)

8) If I (J. Berg)

9) Dime Store Darling (J. Berg)

10) You Don’t Know Me (J. Berg, N. David)

11) Vanna Be (P. Size)

12) Put Up With You (N. David) 

13) Just Can’t Make It (T.R. Taylor)

Special Guests

Mike Zito - Guitar on Out of Line

Monster Mike Welch - Guitar on Toxic

‘As time goes by, people realise what extraordinary songwriters they are.’MBW’s World’s Greatest Managers series meets Wendy Laister, who has managed Duran Duran for over two decades
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Metallica names Marching Band contest winners & offers fan engagement lesson [VIDEO]After learning that their music was a favorite among college and high school marching bands, last April, Metallica announced a contest with almost $200,000 in prizes that challenged marching bands. Continue reading
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Qrates has struggled to fulfill vinyl orders since JulyQrates, which many artists and indie labels have used to release vinyl records based on consumer demand, is struggling to fulfill orders and has stopped accepting new projects. Qrates offers. Continue reading
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A musician’s guide to YouTube RoyaltiesTo make real money from YouTube, a musician must know how the system works. This guide will walk you through how different ways to monetize your own content and what. Continue reading
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SoundCloud gears up for sale with potential $1bn+ price-tag (report)Raine Group and Temasek reportedly looking at banks to handle sale process
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Points are definitely an interesting idea...
"Songwriters today have it a lot tougher than previously, thanks to streaming. While artists aren’t making a whole lot per stream, songwriters only make about 20% of that, and chances are it’s split with a publisher. Now a number of small labels have pledged to offer songwriter points, or a royalty derived from the master streaming revenue."
#MusicBusiness #MusicIndustry #Musicians #artists #royalties

Getting It Done: The Week in D.I.Y. & Indie MusicLast week, our tips and advice for the independent, do-it-yourselfers out there covered how to get better at social media, how musicians can utilize AI, and more…
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REWIND: The new music industry’s week in reviewA busy week by any definition, the music industry was no exception, with expert 2024 predictions, Queen guitarist standing up for fans, and more…
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More info here: dwdrums.com/dwe/craftsmanship

The Sound of A.I. in HollywoodActors and writers reached their agreement with A.I. What about sound designers?

After some long and painful fights, the issue of A.I. — at least for actors and writers — has been resolved. For the rest of us in Hollywood, however, the unpacking of A.I. has only just begun. Navigating the future of the sound design industry will depend on engineers and editors understanding how to maximize the capability and productivity of A.I. tools. 

While filmmaking and production were shut down for most of the year by the long and painful strike, the industry of Hollywood has continued to churn. Though the “Barbenheimer” craze over the summer cushioned the economic blow for some studios, the last six months have seen major Hollywood studios bend over backward to improve profitability. 

Studios direct-to-consumer offerings — streamers — have borne the brunt of these efforts; in this grand experimentation, everything from storytelling structure to pricing models have been on the table. Streamers have merged, shifted, and cut entire projects in an attempt to impress investors with their bottom line. 

It’s a reasonable concern, then, that having failed with the actors and writers, other, less powerful and more technical groups — such as sound engineering — may be on the line for A.I. replacement and the presumed associated cost savings. And it’s not necessarily a wild leap: it’s inevitable that A.I. will, as with other industries, dramatically shift what the workflow for sound engineers will look like.

Sound engineers looking to forge their future not only during these tumultuous times in Hollywood, but also in the “civilian” sector, need to be smart about how they deploy A.I. There are already tools available that can help us speed up our processes and projects. Two good examples:

Sound cataloging and library management: Finding a specific sound in a sound library can be an incredibly time intensive process. I know that my own library is made up of over two terabytes of various sounds, and digging through it to find a specific one can take hours. There are A.I. tools on the market that can not only uncover a sound, but also generate timestamps inside each audio clip.

Audio description mixing: Mixing for audio description can be a rote process. Clients have specifications they want met, and save for a bit of artistry, the process is fairly straightforward. A program’s audio needs to drop at a certain point before the narratives begin, and resume shortly after it ends. A.I. can automate the process, doing an effective first draft of the work, creating time for the engineer to check and fix any mixing issues after the first rendering. 

As in other industries, these tools offer methods of speeding up delivery and service, and will eventually become the standard practice. As cost savings continue to be a major priority for studios, expect to see A.I. technologies implemented to a greater and greater extent. 

But will sound engineers face an existential crisis as a result of A.I.? 

Yes — and no. 

As the more basic tasks of sound design — such as sound effects cataloging and audio description mixing — are outsourced to A.I. tools, other novice positions, like interns and PA roles, will likely dry up. If companies can find cost savings by using technology, they will, and the impact will likely be fewer roles for individuals just getting started and learning the business. 

At the same time, sound design — like many other post-production positions — is both an art and a science. The best among us have the technical skills needed to create a cohesive soundscape, while also having the artful ear that can create a character out of the audio. Part of being a sound designer is having the ability to translate a director’s vision into a rich and immersive sound experience. 

In an industry that runs on connections and creativity, removing the position of sound engineer likely won’t happen, especially at the highest levels. Certainly, the lower tier and newer streaming services — those who are just creating content for content’s sake — may turn to some emerging A.I. tools to churn out fast, good enough sound designs that simply gets the job done. As TikTok and TikTok-like mini productions grow in popularity, rapid turnaround will be prioritized over quality. 

But there will continue to be a happy medium for sound design and engineering. Work in this industry long enough, and you know that relationships are everything. Directors are on the lookout for partners who have the emotional sensibility and creativity to translate their vision, add to it, and produce something even better. 

The Oscar-winning directors of the world aren’t likely to give up that relationship soon, attached as they are to the individuals who help to drive the creative process alongside them. Similarly, independent artists and filmmakers, who are driven by creativity and passion, aren’t likely to pursue ease over art. 

Soft skills will still win the day for sound designers, but smart studios can, and will, start bracing themselves for an A.I.-driven future. 

DAVID ZANG is the owner of AsparTateSounds in Los Angeles. He is an award-winning re-recording mixer, a sound editor, and a location sound mixer. Feel free to reach out to David on his website, www.aspartaterecords.com

Indie Guitarist shares Growth Hacks, How much 10M Spotify streams paidIndependent guitarist Bernth Brodträger plays in several European rock bands, though he’s probably best known for his YouTube channel with 1.06 million subscribers. But Bernth, as he is known professionally,. Continue reading
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Aux adds Direct, a print-on-demand Bandcamp Direct to Fan alternativeMusic creation app Aux is broadening its offering with Direct. This direct-to-fan service joins a growing list of startups adding direct-to-fan commerce since the coatic acquisition of Bandcamp by Songtrader. Continue reading
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